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Kewanee  Public  Library" 


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HAND  BOOK 


OF 


ClK  Fierce  Art  Colleciion 


Of  Heproductions  of  the  Masterpieces  of  Painting,  from  the 
Thirteenth  to  the  Twentieth  Century,  with  Suggestions 
for  the  Use  and  Enjoyment  of  the  Col- 
lection and  a Brief  History  of 
the  Development  of  the 
Art  of  Painting. 


THE  LIBRARY  OF  THE 

DEC  1 2 192b 

UNIVERSITY  OF  ILLINOIS 


THE 


Kewanee  Public  library 


KEWANEE.  ILLINOIS 


1912 


The  unusual  opportunity  for  the  study  and  enjoyment  of 
The  Aet  of  Painting  afforded  by  The  Kewaneb  Public 
Library  is  due  to  the  generosity  of  MR,  AND  MRJS.  THOMAS 
P.  PIERCE^  who  donated  the  collection. 


INTRODUCTION 


708.1 


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Si 


I 


As  the  paintings  of  the  masters  are  scattered  here  and  there 
in  various  galleries,  churches  and  private  collections,  they  are 
not  accessible  to  everyone  and  can  only  be  known  by  means  of 
copies.  The  best  modern  processes  of  reproduction  in  prints, 
in  color  or  in  black  and  white  are  quite  successful  in  giving  not 
only  the  color  value  and  beauty  of  composition,  but  in  reflect- 
ing the  spirit  of  the  originals. 

Kealizing  the  lack  of  advantages  for  artistic  development 
and  desiring  to  encourage  the  aesthetic  sense  in  the  commun- 
ity, this  unique  collection  was  presented  to  the  Kewanee  Public 
Library  by  Mr.  and  Mrs.  Thomas  P.  Pierce  at  the  dedication 
of  the  new  library  building,  April  21,  1908.  The  collection  con- 
sists of  one  hundred  and  forty-six  reproductions  in  carbon  print, 
photogravure  and  color  taken  from  the  original  works,  and  is 
designed  to  accomplish  a three-fold  purpose:  to  stimulate  and 
foster  the  love  of  art;  to  provide  opportunity  for  the  study  of 
that  form  of  it  which  is  expressed  through  the  medium  of 
brush  and  color;  to  illustrate  the  rise,  growth  and  progress  of 
painting  from  the  dawn  of  the  Renaissance  to  the  present 
century. 

The  pic-tures  hang  chronologicallj^  on  the  walls,  the  ai'tists 
of  one  country  being  set  side  by  side  with  those  of  another  in 
the  order  in  which  they  come  into  prominence,  so  that  the 
pictorial  development  of  the  world’s  ari  during  a period  of 
seven  centuries  can  be  traced  step  by  step.  Moreover,  interest- 
ing contemporary  comparisons  can  be  made.  For  the  repro- 
ductions not  only  show  the  style,  characteristics  and  motives 
of  each  individual  painter,  but  reveal  the  manner  of  life,  the 
customs,  and  even  the  costumes  of  the  various  countries  in 
which  each  lived  and  worked. 

To  supplement  the  collection  with  a guide  which  would 
be  in  any  degree  adequate  and  would  be  of  practical  help  to 
those  who  might  wish  to  carry  their  study  beyond  an  examina- 

o 

o 


709319 


tion  of  the  pictures,  it  seemed  necessary  to  include  a certain 
amount  of  historical  as  well  as  descriptive  text.  Consequently, 
the  handbook  is  so  arranged  that  beside  obtaining  some  idea 
of  the  masterpieces  themselves,  any  who  desire  can  gain  a 
general  knowledge  of  individual  artists  and  connecting  art 
history  without  referring  to  other  books. 

A good  picture  gallery  is  a veritable  treasure  house  of 
beauty  and  delight;  a fairy  palace  full  of  bright  fancies, 
satisfied  memories  and  noble  ideals.  The  busy,  work-a-day 
world  goes  hurrying  past  little  dreaming  of  the  store  of  wealth 
within  reach,  which  may  be  had  for  the  taking. 

Good  pictures  fill  quite  as  distinct  and  important  a place 
in  the  complete  rounding  out  of  one’s  intellectual  equipment 
as  good  books  or  good  music.  Entered  into  seriously,  picture 
study  brings  about  surprising  results.  It  leads  to  the  develop- 
ment of  tavSte ; to  the  recognition  and  appreciation  of  beauty  not 
only  in  pictures,  but  in  everything  that  holds  it.  Further,  it 
cultivates  an  entirely  new  and  a broader  way  of  looking  at  the 
vast  panorama  of  nature  and  life  as  well  as  the  ability  to  dis- 
criniinate  between  that  which  is  really  good  and  that  which 
has  little  meaning  or  is  commonplace. 

There  is  a world  of  beauty  in  pictures  which  often  escapes 
notice  because  one  does  not  quite  know  how  to  look  for  it.  To 
rightly  enjoy  and  interpret  them  requires  some  understanding 
of  the  painter’s  language  and  juirpose.  EndoAved  AAuth  a tem- 
perament, a point  of  view  peculiar  to  himself,  the  artist  sees 
much  of  interest  and  beauty  that  is  neither  perceived  nor 
imagined  bj^  most  of  us;  more  than  this,  he  has  a particular 
Avay  of  looking  at  things— a way  very  different  from  our  O'vn — 
and  as  he  sees,  so  he  endeavors  to  represent.  As  the  poet  with 
his  verse  or  the  musician  with  his  harmonies  so  the  painter 
Avith  his  color  and  bmsh  gives  expression  to  his  thoughts,  feel- 
ings or  experiences.  For  Avhatever  its  form  art  in  its  highest 
sense  is,  after  ail,  only  the  means  of  erpvemon  and  the  painter 
as  Avell  as  his  felioAV  craftsman  has  a special  medium  through 
Avhich  he  reveals  himself. 

The  true  understanding  of  a picture  can  best  be  reached  by 
approaching  it  from  the  standpoint  of  its  painter ; only  in  this 


4 


way  can  one  discover  liis  conception  of  a subject  or  his  motive 
in  painting  it,  and  a part  of  the  task  of  the  appreciator  is  to 
penetrate  the  artist’s  real  intention  and  accept  his  work  for 
what  he  designed  it  to  express.  His  object  may  have  been 
merely  to  imitate  nature,  to  represent  the  effect  of  light,  to  em- 
body some  thought,  some  personal  mood  or  impression;  or  it 
may  have  been  to  express  the  subjective  or  inner  meaning  of 
some  phase  of  nature  or  life.  Whatever  his  aim,  one  is  sure 
to  feel  the  presence  of  the  man  behind  it  and  gain  a glimpse 
into  a new  region  of  individual  experience;  for  always  the 
painter  feels  the  spirit  that  responds  to  his  own  and  be  that 
v^hat  it  may,  it  is  one  of  the  greatest  delights  of  picture  study 
to  find  it.  To  pass  a picture  by  because,  at  first  glance,  it 
seems  to  hold  little  that  is  attractive  or  that  appeals  to  one’s 
owm  personal  taste,  is  often  to  miss  something  of  real  interest 
and  significance. 

Pictures,  like  i)eople,  have  individual  character  and  charm, 
and,  naturally,  vary  in  their  appeal  according  to  the  taste  and 
temperament  of  each  observer.  All  will  not  derive  the  same 
measure  of  enjoyment  nor  arrive  at  the  same  conclusion  of  the 
artist’s  intent;  but  each  may  appropriate  that  which  is  espe- 
cially interesting  and  satisfying  to  himself,  and  may  reach  the 
goal  of  appreciation  ])v  any  path  he  chooses  to  take.  There 
is  no  one  exclusive  highway  to  he  followed  by  everyone  in  the 
endeavor  to  discover  the  personal  message  a great  picture  has 
for  those  who  seek  it. 

Each  may  find  and  claim  his  own  and  may  enter  in  his 
own  ^Ysry  into  the  delight,  the  joy,  the  inspiration  good  pictures 
give — the  inheritance  belongs  to  ali. 


OUTLINE 


During  the  mediaeval  age,  which  preceeded  the  thirteenth 
century,  a long  period  of  stagnation  occurred  when  ai*t  and  so- 
ciety were  dominated  by  faith  and  tradition.  Byzantine  art, 
which  flourished  at  Constantinople  during  this  period,  was  an 
art  richly  decorative  in  effect,  but  wholly  destitute  of  beauty  in 
form,  feature  or  expression.  It  was  pitifully  lifeless,  conven- 
tional, morbid,  eloquent  of  mediaeval  darkness  and  well  suited 
the  view  of  life  held  during  the  Middle  Ages.  Its  influence 
was  wide  spread,  of  long  duration  and  pernicious  in  effect, 
crushing  out  all  originality  or  creative  power  in  the  artist  and 
existing  only  for  religious  teaching  and  the  purpose  of  decora- 
tion. This  apathetic  condition,  so  destructive  to  all  artistic  de- 
velopment, continued  until  about  the  middle  of  the  thirteentii 
century.  Then,  in  Italy,  there  were  signs  of  an  awakening. 
The  revolt  of  artists  against  Byzantine  methods;  the  natural 
love  of  the  world ; the  growing  desire  for  individual  expression 
aided  by  the  general  intellectual  stir  caused  by  the  re-discov- 
ery of  antiquity,  were  among  the  influences  which  effected  the 
dawn  of  the  period  known  as  the  Renaissance. 

This  great  revival  of  learning  and  the  return  to  the  study 
of  nature  had  its  birth  and  inspiration  in  Italy,  gradually 
spread  to  other  countries,  and  ultimately  produced  our  modern 
literaiy  and  artistic  civilization.  To  aid  toward  a cleai*er 
understanding  of  the  various  stages  of  the  development  and 
progress  of  this  Renaissance  movement  as  it  reached  the  vari- 
ous countries,  a brief  summary  is  here  added  giving  a birds-eye 
view  of  the  entire  field  as  represented  by  the  collection. 

After  Italian  artists  began  to  break  away  from  Byzantine 
tradition  and  see  the  world  for  themselves,  their  first  efforts 
wei*e  directed  towards  a traer  imitation  of  life  and  nature. 
The  first  step  was  taken  by  Cimabue,  who  departed  slightly 
from  long  established  niles.  Giotto  followed,  making  still 
greater  advancement;  then  came  Masaccio  and  Mantegna,  who 


G 


succeeded  in  giving  a decidedly  natural  appearance  of  life  and 
vigor  to  figures,  until  by  degrees  through  the  study  of  ancient 
sculpture,  artists  reached  great  proficiency  in  rendering  the 
human  form,  but  paid  little  attention  as  yet  to  nature’s  appear- 
^ces  or  to  the  effects  of  natural  light. 

Instead,  through  the  newly  awakened  interest  in  re-dis- 
covered classic  literature,  the  Italians  were  led  to  consider  the 
embodiment  of  ideas.  In  the  fifteenth  century  they  became 
interested  in  a motive  termed  Idealism — the  representation  of 
mental  or  spiritual  ideas  embodied  in  external  form.  There 
was  naturally  some  improvement  along  the  line  of  landscape 
and  natural  lighting,  but  the  Italians  w^ere  mainly  concerned 
with  form,  color  and  composition-.  Through  the  sixteenth 
century,  it  was  from  the  highest  standpoint  of  abstract  beauty 
that  artists  looked  at  their  subjects;  this  idealistic  motive,  com- 
bined with  the  religious  need  and  feeling  of  the  age,  was  the 
inspiration  which  produced  the  noble  Italian  picture  of  the 
High  Renaissance  period. 

With  the  seventeenth  century  came  a change  in  political 
conditions.  The  Italians  preyed  upon  by  foreign  enemies, 
weakened  by  dissension  and  strife  among  themselves,  at  length 
lost  their  pride,  their  liberty  and  their  high  ideals.  The  loss 
of  political  liberty  accompanied  by  low^er  social,  moral  and 
religious  standards,  was  inevitably  followed  by  intellectual  and 
artistic  decline.  The  glory  of  painting  weaned  and  finally  dis- 
appeared in  Italy,  to  reappear  with  vital  force  in  other  lands. 
The  great  Renaissance  movement  for  this  nation  was  at  an  end. 

During  the  ]:>rogress  and  growth  of  art  in  Italy  the  Ren- 
aissance movement  had  reached  other  shores.  Other  countrias 
had  shown  development  and  had  likewise  reached  their  periods 
of  perfection  and  decline.  Flemish  painting  came  into  promi- 
nence in  the  fourteenth  centuiw  with  the  Van  Eycks.  After 
them  it  suffered  a relative  eclipse  for  over  one  hundred  vears. 
then  reappeared  and  reached  its  climax  with  Rubens  and  Van 
Dvek.  After  the  passing  of  these  mastem  it  followed  French 
methods. 

In  the  fifteenth  and  sixteenth  centuries,  German  art. 
which  had  heretofore  manifested  little  strength  or  individual- 


7 


ity,  reached  its  height  with  Diirer  and  Holbein ; with  them  it 
showed  the  decided  national  characteristics  of  the  German  folk. 
In  the  seventeenth  and  eighteenth  centuries,  it  declined  and 
passed  into  Italian  and  French  imitation,  but  in  the  nineteenth 
century  revived  and  in  a measure  returned  to  natural  motives. 

Art  in  France  showed  no  decided  activity  until  the  six- 
teenth century  when  it  developed  under  Francis  I.  For  a long- 
period  the  French  followed  Italian  methods,  but  in  the 
eighteenth  century  a very  representative  type  of  art  came  into 
vogue  with  Watteau  and  his  followers.  Nineteenth  century 
French  art  was  dominated  by  classic  and  romantic  methods. 

The  emotional  impulse  springing  from  romanticism  com- 
bined with  the  study  of  the  old  Dutch  landscapists  and  the 
English  contemporary  painter  Constable,  set  artists  to  the  close 
study  of  nature  and  ultimately  developed  the  Fontainebleau- 
Barbizon  School.  The  rendering  of  the  exact  vision  of  a mo- 
ment, called  Impressionism,  was  the  latest  movement  in 
French  painting. 

In  the  seventeenth  century  Spanish  art,  with  Velasquez, 
took  upon  itself  an  original  stamp  in  realistic  representation 
and  in  the  representation  of  natural  light.  After  his  death, 
with  few  exceptions,  it  followed  the  models  of  France.  In  the 
nineteenth  century  a new  advance  was  made  by  artists  of  much 
originalit}^  and  strength. 

In  the  seventeenth  century,  also,  came  the  great  art  of 
the  Dutch  people.  Growing  out  of  existing  conditions,  there 
was  developed  in  Holland,  simultaneously  with  Spain,  the 
motive  termed  Realism — the  representation  of  things  as  they 
really  appear  to  the  eye.  This  motive  held  for  a time,  but  after 
Rembrandt,  Dutch  art  degenerated  into  imitation  and  exag- 
geration. In  the  nineteenth  century  there  was  a revival  of 
the  realistic  motive. 

In  the  eighteenth  century,  that  century  so  dead  in  art 
all  over  the  rest  of  Europe,  British  painting  came  forward  with 
Hogarth  and  Reynolds  and  new  developments  were  made  in  the 
art  of  portraiture  and  illustration.  In  the  nineteenth  century 
through  Constable,  an  original  note  was  struck  in  landscape ; in 
the  same  century,  also,  arose  the  pre-Raphaelite  movement 


8 


which  exerted  an  important  and  powerful  influence  on  English 
art. 

After  the  centennial  in  1876  American  art  began  to  make 
itself  felt.  Though  for  a time,  following  the  methods  of 
older  countries,  America  in  the  present  century  has  taken  her 
place  in  landscape,  portraiture,  and  other  branches  of  art.  The 
realism  of  Holland  and  the  discoveries  of  Velasquez  in  the 
right  rendering  of  appearances  had  a marked  influence  on 
modern  painting;  the  rendering  of  natural  semblances,  with 
the  additional  motive  of  the  personal  impre.ssion  of  the 
artist,  has  continued  to  be  the  main  principle  governing  the 
work  of  painters  of  most  countries  up  to  the  present  day. 

In  following  the  evolution  of  painting  from  the  Byzantine 
tradition  which  prevailed  before  Cimabue  down  to  the  methods 
of  present  day  painters,  if  will  be  noticed  that  after  the  artistic 
instinct  was  freed  from  its  long  period  of  enforced  represen- 
tation, the  moving  impulse  of  the  artist  was  always  to  reveal 
himself.  Through  all  the  changes  and  occasional  lapses  into 
impersonalities,  there  can  be  traced  the  slow  but  steadily  in- 
creasing development  of  the  individual  element,  until  in  our 
modern  art  the  prominent  note  is  the  expression  of  the  personal 
feeling,  of  the  point  of  view  of  the  artist. 

Noticeable  also  is  the  fact  that  in  the  main,  there  have 
been  two  streams  of  motive — the  idealistic  and  the  realistic — 
the  former  flowing  from  the  artist’s  desire  to  represent  his 
conception  of  ideal  beauty,  the  latter  from  his  love  of  nature 
and  life.  These  motives  alternately  reached  their  highest 
flood  because  the  conditions  of  the  times  supplied  a public 
need  to  which  each  in  turn  responded.  Gradually  both  ten- 
dencies underwent  a change ; whereas  both  motives  were  origin- 
ally concerned  with  form,  they  came  later  to  be  concerned 
with  light  and  individual  expression. 

The  tendency  today  is  not  to  put  forth  a univeraal  con- 
ception, but  an  individual  belief.  Individualism  has  become 
the  keynote  of  modern  work. 


9 


Descriptions  of  Reproductions. 

With  a Brief  Account  of 
Artists  and  Schools. 

BYZANTINE  PAINTING. 

In  the  year  328  A.  D.,  the  Emperor  Constantine,  removed 
his  capitol  from  Rome  to  Byzantium,  a Greek  colony  on  the 
Bosphorus,  rebuilt  the  city  and  named  it  Constantinople.  The 
first  school  of  Christian  painting  later  established  here,  was 
called  Byzantine,  after  the  title  of  the  older  city. 

Byzantine  ari  was  a curious  product.  At  this  period  it 
seems  to  have  been  a mixture  of  degenerated  Greek  with  Per- 
sian and  other  Oriental  art.  Roman  artists  as  they  came  to 
the  new  capitol  fought  against  its  influence  but  the  struggle 
was  a hopeless  one.  Artistic  conditions  were  made  still  more 
deplorable  by  the  doctrine  of  asceticism  which  grew  up  during 
the  following  centuries.  This  doctrine  which  taught  the 
mortification  of  the  physical  in  favor  of  the  spiritual,  affected 
art  as  well  as  religion ; pictures  were  entirely  upon  religioas 
subjects  and  paintei’s  were  controlled  by  the  Church.  For 
everything  there  was  a ready-made  model  and  from  this  model, 
artists  were  never  allowed  to  depart.  Faces  grew  morose  and 
rigid,  figures  gaunt,  heavy  and  wooden,  until  finally  painting 
lost  all  beauty  of  expression  or  feature  and  degenerated  into  a 
system  of  conventional  forms  and  symbols. 

Poverty  in  drawing  and  artistic  ignorance  were  concealed, 
however,  by  gold  encrusted  backgrounds,  gold  halos,  and  costly 
aCce.^ories  of  embroidery  and  jewels  lavished  upon  garments. 
The  effect  was  garish,  even  splendid,  but  was  very  far  from 
nature.  This  style  of  painting  flourished  from  the  ninth  to 
the  thirteenth  century,  gained  a foothold  in  nearly  every 
country  of  Europe  and  had  a disastrous  effect  upon  all  true 


10 


art.  Subsequent  artists  had  great  difficulty  in  overcoming  its 
influence. 


MARGARITONE. 

1216-1293? 

Florentine. 

Of  Margaritone,  whose  work  is  the  earliest  represented  in 
the  collection,  little  is  known  save  that  he  was  considered  a fine 
painter  in  his  day.  He  came  just  before  the  Renaissance  awak- 
ening and  was  the  last  Italian  artist  to  paint  entirely  in  the 
Byzantine  manner. 


1. 

MADONNA  AND  CHILD. 

National  Gallery,  London. 

To  fully  appreciate  the  advance  made  by  artists  after 
they  began  to  return  to  the  truth  of  natural  form — which  is 
true  art — one  needs  first  to  look  at  a specimen  of  the  prevail- 
ing Byzantine  picture.  This  panel  is  a good  example.  It  is 
divided  into  set  divisions,  the  customary  arrangement,  and, 
like  all  early  art,  speaks  in  symbols. 

The  Virgin,  forbidding  and  severe,  holds  the  Christ  who 
is  represented  as  an  adult,  his  right  hand  is  raised  in  gesture  of 
blessing,  his  left  holds  a scroll  upon  which  are  written 
the  names  of  the  redeemed.  On  either  side,  pictured  in  quaint, 
grotesque  symbolism,  are  scenes  from  the  lives  of  the  saints. 
In  the  first  panel  to  the  left,  St.  John  sits  serene  and  calm  in  a 
cauldron  of  boiling  oil ; the  outer  panel  represents  the  birth  of 
Christ.  Below  is  the  beheading  and  burial  of  St.  Catherine; 
next  is  St.  Nicholas  preaching  to  some  sailors.  In  the  first 
upper  panel  to  the  right,  St.  John  resuscitates  the  body  of 
Drusiana;  farther  on  is  seen  St.  Benedict  throwing  himself 
into  a bed  of  briars  and  nettles;  (the  thorns  were  supposed  to 
act  as  a counter  irritant  and  drive  from  his  mind  unholy 
thoughts).  In  the  lower  panel,  St.  Nicholas  liberates  three 
debtors  from  prison,  and  in  the  last — ^the  strangest  of  all  these 


11 


strange  little  panels — St.  Margaret,  having  refused  to  abandon 
her  Christian  faith,  is  swallowed  and  disgorged  by  a dragon. 

This  typical  Byzantine  example,  although  painted  in 
bright  colors  and  decorated  with  gold,  would  seem  to  have  little 
in  it  to  act  as  a spiritual  stimulus  to  the  observer,  as  altarpieces 
were  intended  to  do.  But  all  these  early  paintings  were  de- 
signed for  some  special  place  in  a church,  usually  over  the 
high  altar.  And,  going  from  the  dazzling  Italian  sunshine 
into  the  cool,  dark  buildings  these  altarpieces,  with  their 
bright  robed  figures  and  gold  backgrounds  sparkling  under  the 
illumination  of  tapers  and  swinging  lamps,  invariably  attracted^ 
the  eye.  Thus  they  served  their  purpose — that  of  directing  the 
mind  into  a devotional  attitude. 

Margaritone’s  panel  is  very  old,  very  morbid  and  unlovely. 
But  it  is  eloquent  of  the  darkness  of  the  period,  and  is  an 
interesting  picture  from  which  to  follow  the  development  of 
painting. 


12 


Italian  Painting. 

Florentine  School. 

The  Byzantine  method  found  its  way  into  Italy  probably 
as  early  as  the  sixth  century  and  practically  crushed  out  the 
native  early  Christian  art.  There  were  long  years  of  surrender 
to  its  influence,  but  in  the  thirteenth  century  the  spirit  of  learn- 
ing revived,  the  arts  began  to  stir  and  painting  finally  emanci- 
pated itself  through  the  teachings  of  Cimabue  and  Giotto. 
Among  the  various  art  schools  which  soon  began  to  spring  up 
in  different  parts  of  Italy,  the  most  famous  and  brilliant  was 
the  Florentine  which  began  with  Cimabue,  renewed  its  luster 
for  four  hundred  years  and  reached  its  climax  with  Leonardo 
da  Vinci,  Michael  Angelo  and  Raphael,  the  greatest  masters  of 
the  Renaissance. 

The  Florentines  were  better  draughtsmen  than  colorists 
or  sentimentalists;  they  rather  forsook  sentiment  for  precision 
of  form  and  beauty  of  composition.  Their  art,  doubtleas  in- 
fluenced by  the  social  and  intellectual  conditions  of  Florence 
and  Rome,  followed  classical  and  literary  as  well  as  religious 
subjects.  Their  chief  medium  was  fresco. 

CIMABUE. 

1240?-1802? 

Florentine. 

About  tile  middle  of  the  thirteenth  century,  into  the  mys- 
terious half  light  which  preceeded  the  dawn  of  a new  era  of 
beauty  and  progress,  came  Cimabue.  For  many  centuries  he 
has  been  regarded  as  the  father  of  Italian  painting  because  he 
was  one  of  the  first  who  ventured  to  assert  his  own  individual- 
ity and  depart  even  in  slight  degree  from  the  traditional  repre- 
sentation of  sacred  pictures.  Cimabue  worked  in  the  so-called 
Gothic  period  when  painting  was  wholly  in  the  service  of  the 
Church.  Byzantine  influence  was  strong  and  though  a growth 


13 


toward  the  study  of  nature  is  noticeable  the  thing  told  was  still 
of  more  importance  than  the  manner  of  telling.  Cimabue,  to 
a great  extent,  followed  the  conventions  of  his  Byzantine  mas- 
ters, yet  he  attempted  to  paint  things  as  they  really  were.  He 
infused  a new  spirit  into  the  art  of  Florence  and  inspired 
succeeding  artists  to  greater  things  than  he  himself  was  able 
to  accomplish. 

2. 

MADONNA  ENTHRONED. 

AUTHORSHIP  QUESTIONED. 

Rucellai  Chapel,  Santa  Maria  Novella,  Florence. 

Pictorially,  there  is  little  that  is  attractive  about  Cimabue’s 
Virgin  and  Child.  It  is  only  by  comparing  it  with  Margari- 
tone’s  panel  that  one  realizes  how  much  more  unlovely  the 
earlier  Madonnas  were,  and  can  form  an  idea  of  Cimabue’s 
real  progress.  The  Byzantine  characteristics  are  here  in  the 
melancholy  face,  the  stiff,  ill  proportioned  figure  and  the  long 
slim  hands  whose  fingers  seem  to  have  more  than  the  usual 
number  of  joints.  (The  drawing  of  the  hands  and  feet  was  a 
hopeless  problem  with  all  early  painters.)  But  placing 
the  two  pictures  side  by  side,  one  notices  that  Cimabue  has 
turned  the  Virgin’s  head  slightly,  loosened  the  folds  of  the 
draperies  about  her  throat,  and  has  given  a thoughtful,  human 
expression  to  the  face  which  is  entirely  lacking  in  the  earlier 
panel. 

When  put  into  competition  with  s\icli  works  as  Margari- 
tone’s,  one  begins  to  understand  the  rapturous  admiration  with 
which  this  great  altarpiece  was  hailed  by  the  Florentines,  wha 
appointed  a gala  day  when,  in  festival  procession  it  was  carried 
from  the  artist’s  house  to  the  church  and  placed  above  the 
altar. 

Both  the  story  of  this  Madonna  and  Cimabue’s  place  as  a 
reformer  are  now  questioned  by  critics.  But  it  would  seem 
that  Cimabue  must  have  felt  the  influence  of  the  changes  that 
were  at  hand ; for  though  his  advance  is  slight,  the  soul  of  the 
picture  begins  to  struggle  through  the  features  of  the  Virgin. 


14 


This  altar-piece  still  hangs  in  the  same  church  in  one  of  the 
side  chapels. 


GIOTTO. 

T266?-1337. 

Florentine. 

While  Cimabue  made  slight  changes,  real  revolution  in  art 
occurred  with  Giotto,  whose  name  is  the  foremost  of  the  four- 
teenth century  and  whose  influence,  with  that  of  his  followers, 
dominated  the  whole  art  work  of  the  period.  He  was  a pupil  of 
Cimabue  who,  legend  says,  found  him  as  a shepherd  lad  mak- 
ing drawing  of  his  sheep  upon  the  flat  stones  of  the  hillside, 
recognized  his  genius,  and  carried  him  off  to  educate  him  as  a 
painter.  Although  he  soon  outstripped  his  master,  he  could  not 
wholly  throw  off  Byzantine  traditions;  he  did,  however,  in- 
troduce new,  important  changes  over  established  methods. 
Giotto  made  very  perceptible  improvements  in  modeling,  per- 
spective and  composition,  grouped  his  figures  in  more  natural 
attitudes  and  gave  them  a successful  semblance  of  life  and 
motion.  For  the  first  time  painted  figures  seem  really  to  stand 
or  walk.  Instead  of  having  the  effect  of  being  pasted  on  the 
background  they  even  begin  to  be  detached  from  their  sur- 
roundings so  that  one  feels  it  possible  to  walk  around  them. 

The  inscription  on  Giotto’s  tomb  in  the  cathedral  of  Flor- 
ence says  with  no  little  degTee  of  truth — “I  am  he  who  made 
Painting,  which  was  dead,  alive  again.”  Like  many  artists  of 
his  century  Giotto  was  architect  and  sculptor  as  well  as  paint- 
er; he  was  the  designer  of  the  beautiful  Campanile  in  Florence, 
one  of  the  finest  architectural  works  in  Italy. 


3. 

THE  FLIGHT  INTO  EGYPT. 

Arena  Chapel,  Padua. 

The  religious  revival  led  by  the  two  monks  St.  Francis  and 
St.  Dominic,  brought  about  a revolution  in  art.  New  churches 
were  required,  and  as  these  buildings  were  usually  large  and 


15 


plain  the  interior  spaces  of  blank  wall  needed  decoration. 
Hence  fresco  painting  (painting  on  wet  plaster)  came  into 
more  general  use.  The  walls  of  churches  now  became  a kind 
of  pictorial  Bible.  They  proved  of  material  assistance  in 
religious  teaching,  for  while  the  friars  were  sending  forth 
their  scriptural  interpretations  from  the  pulpit,  the  eye  could 
follow  each  sacred  event  as  pictured  by  the  artist.  In  this 
vivid  and  effective  way,  gospel  lessons  were  impressed  upon  the 
minds  of  unlettered  people. 

In  the  Arena  Chapel,  Padua,  is  a series  of  these  Biblical 
frescoes  bj^  Giotto,  illustrating,  among  other  subjects,  scenes 
from  the  life  of  Christ.  The  Flight  into  Egypt,  represents 
the  journey  of  the  Holy  Family  as  they  flee  from  the  wrath 
of  Herod.  Giotto'  follows  the  traditional  representation,  show- 
ing Mary  riding  upon  an  ass  holding  the  Child  in  her  arms, 
while  Joseph  fulfills  his  office  as  guide,  the  guardian  angel 
leading  the  way;  but  he  departs  from  the  old  method  in 
illustrating  the  story  instead  of  suggesting  it.  His  appropriate 
grouping  and  gestures  make  the  scene  a real  one. 

A great  improvement  will  be  noticed  in  the  type  of  faces 
as  well  as  in  the  drawing  of  the  figures;  the  two  at  the  left 
are  especially  natural  in  modeling  and  expression.  In  com- 
paring these  figures  with  Cimabue’s  Madonna  and  Child,  one 
notices  how  much  more  graceful  the  draperies  are,  how  much 
better  relief,  roundness  and  motion  are  suggested  in  the  forms. 
It  is  evident,  too,  that  Giotto  went  to  nature  for  a model  when 
he  painted  the  donkey,  for  this  little  animal  is  noticeabh^ 
remarkable.  If  Giotto  drew  his  sheep  as  well,  little  wonder 
Cimabue  foresaw  a future  artist  in  the  young  shepherd. 

The  landscape  background  is  but  a crude  suggestion  of 
nature’s  tmth.  This  feature  of  art  had,  as  yet,  received  little 
attention  from  painters  and  though  Giotto’s  attempt  at  per- 
spective in  his  arrangement  of  the  trees  is  not  very  successful, 
it  is  far  better  than  anything  his  predecessors  had  done.  He 
has  succeeded,  however,  in  giving  a decidedly  human  touch 
and  a suggestion  of  sentiment  in  the  attitude  of  the  Child  as 
it  rests  in  its  mother’s  arms. 


16 


ORCAGNA. 

1308-1368. 

Florentine. 

A generation  passed  before  there  was  an  artist  with  suf- 
ficient originality  to  advance  the  art  of  painting  beyond  Giotto. 
Then  came  Orcagna,  who  still  further  advanced  Giottesque 
methods  and  united  in  himself  all  the  art  teachings  of  his 
time.  He  made  noticeable  improvement  in  the  drawing  of 
forms,  in  the  representation  of  the  natural  appearance  of 
objects,  also  in  color,  perspective,  and  light.  He  is  most  inter- 
esting on  account  of  his  famous  frescos  in  the  Campo  Santo, 
Pisa,  wRere  this  sadly  defaced  composition  may  be  found. 

4. 

THE  TRIUMPH  OF  DEATH. 

Campo  Santo,  Pisa. 

This  singular  picture  is  another  of  the  wall  paintings 
used  for  the  teaching  of  religious  doctrine,  but,  as  befits  the 
subject,  it  is  much  more  dramatic  than  Giotto’s  fresco.  It  has 
the  quaint  grotesqueness  and  elaborate  detail  commonly  found 
in  works  of  this  type  ’which  are  more  frequently  seen  in  the 
North  than  in  the  South  of  Europe.  In  this  pictorial  object 
lesson,  the  contrast  of  the  pleasures  of  life  with  the  horrors  of 
death,  and  the  sudden,  unexpected  termination  of  all  things 
by  the  hand  of  the  “Destroyer,”  are  set  forth  in  a realistic  if 
somewhat  gruesome  fashion. 

On  the  right  of  the  immense  rock  which  divides  the  pic- 
ture, the  figure  of  Death,  with  bat  wdngs  and  a broad  scythe,  is 
about  to  cut  down  his  human  harvest — a gay  company  of 
ladies  and  cavaliers;  he  passes  by,  unheeding,  a group  of  the 
helpless  and  suffering  wlio  beseech  to  be  released  from  their 
miseries ; between  these  tw^o  groups  lie  a heap  of  corpses  already 
cut  down.  The  upper  half  of  the  fresco  on  this  side  is  filled 
with  grotesque  and  terrible  happenings.  Angels  and  devils 
contending  for  possession  of  souls,  and  various  suggestions  of 
the  torments  which  are  the  portion  of  the  wicked.  On  the 
extreme  left,  pleasure  appears  in  the  form  of  a gay  hunting 


17 


pally.  Returning  from  the  chase  they  pass  an  old  hermit  who 
significantly  points  to  an  open  sepulchre  containing  three 
gruesome  corpses ; above  is  a suggestion  of  the  life  of  holy  men 
as  they  engage  in  their  peaceful  occupations. 

The  reproduction  is  too  small  to  judge  the  merits  of  the 
fresco,  but  one  can  notice  the  admirable  action  of  the  horses, 
the  natural  attitudes  of  the  riders  and  various  other  figures. 
This  peculiar  work  reflects  the  general  trend  of  the  thought 
and  teaching  of  the  age.  Whether  men  rode  to  the  hunt 
or  sat  at  ease  with  music  and  laughter,  they  might  forget  for 
a moment  only,  the  presence  of  Death  and  the  certainty  of 
final  Judgment. 


18 


Flemish  Painting. 

While  the  fine  arts  were  gradually  developing  in  Italy,  the 
art  spirit  had  been  working  elsewhere,  for  about  the  time  of 
the  death  of  Orcagna  the  little  country  of  Flanders  in  the  far 
North,  comes  into  prominence.  In  the  Flemings  one  meets 
with  a radically  different  race  with  quite  another  impulse  of 
art  expression.  A nation  of  traders  and  craftsmen,  the  art  of 
Flanders  reflected  the  types  and  characteristics  of  its  own  peo- 
ple. Familiar  with  angular  figures  disguised  in  unshapely 
garments  instead  of  classic  models  clothed  in  classic  draperies, 
the  artist  of  this  cold  climate  was  not  concerned  with  the 
beauty  of  the  human  form  or  of  ideals , but  gratified  his  artistic 
instinct  by  faithfully  copying  the  things  that  pertained  to  him- 
self and  his  daily  life. 

As  in  all  the  countries  of  Europe,  Flemish  painting  pic- 
tured Christian  subjects,  but  as  the  northerners  filled  with  win- 
dows of  stained  glass  the  vsist  wall  spaces  which  the  Italians 
gave  up  to  fresco,  their  painted  art  was  confined  mostly  to  altar- 
pieces  or  pictures  of  small  size.  Their  means  and  methods 
were  quite  original,  for  they  were  uninfluenced  either  by 
Byzantine  tradition  or  antique  marbles.  Their  early  art  was 
strongly  realistic,  exact,  minute  in  detail,  their  compositions 
crowded,  their  figures  somewhat  awkward.  But  they  excelled 
in  representing  textures,  color,  perspective  and  atmosphere. 

Whereas  the  Italians  idealized  their  figures,  the  early  Flem- 
ish painters  gave  a portrait-like  character  even  to  their  represen- 
tation of  God,  Christ,  the  Virgin  Mary  and  saints.  Their 
work  lacks  the  grandeur  of  the  Italians,  yet  in  pathos,  sincerity 
of  sentiment  and  conscientious  devotion,  it  is  unsurpassed  by 
any  fifteenth  century  art. 

HUBERT  AND  JAN  VAN  EYCK. 

1426? and  1381?-1440. 

Flemish. 

Little  is  known  of  the  personal  history  of  either  of  the  Van 
Eycks.  It  is  certain,  however,  that  they  were  the  founders  of 


19 


the  early  Flemish  School  of  paiDting,  a school  which  developed 
out  of  the  national  skill  of  craftsmanship  in  the  minor  arts  of 
decoration,  goldsmith’s  work,  miniature  painting,  stained  glass, 
tapestry,  embroidery  and  the  like.  To  them,  also,  is  given  the 
credit  of  the  development  and  successful  application  of  oil  and 
varnish  in  picture  making;  through  this  discovery  enormous 
advances  were  made  in  the  fifteenth  century.  Jan  Van  Eyck 
was  one  of  the  most  perfect  of  Flemish  painters,  his  work  show- 
ing exceptional  qualities  for  his  time. 

5. 

TPIE  ADORATION  OF  THE  LAMB. 

Altari^iece  in  the  Church  of  St.  Bavon,  Ghent. 

This  composition  has  been  called  one  of  the  most  remark- 
able ever  painted  in  the  Netherlands.  The  subject,  taken 
from  the  book  of  Revelation  represents  the  crowning  glory  of 
Redemption,  “The  Lamb  of  God  which  taketh  away  the  sins 
of  the  world.” 

The  work  is  in  the  form  of  a triptych — an  altar-piece  with 
two  wings — and  contains  twelve  pictures.  Eight  of  the  parts 
were  scattered  and  are  now  at  Berlin  and  Brussels,  but  are 
replaced  by  copies  so  that  an  idea  of  this  wonderful  work 
in  its  entirety  and  in  the  place  for  which  it  was  painted,  may, 
still  be  obtained  in  Ghent.  In  the  upper  central  panel,  in 
splendid  robes,  is  represented  the  Godhead  enthroned,  hold- 
ing in  His  left  hand  a sceptre,  His  right  raised  in  the  traditional 
gesture  of  blessing.  On  His  right  is  the  Virgin  holding  a 
book,  on  her  right  a group  of  singing  choristers,  in  the  last 
panel  stands  the  nude  figure  of  Adam.  On  the  left  of  the 
Father,  long  haired  and  bearded,  sits  John  the  Baptist,  an  open 
book  upon  his  knees ; next  is  St.  Cecelia  playing  upon  an  oaken 
organ,  accompanied  by  angels  with  viols  and  harps.  In  the 
outer  panel  is  the  figure  of  Eve. 

The  Father,  by  His  position,  presides  over  the  sacrifice 
of  the  Lamb,  which  is  represented  in  the  central  panel.  This 
scene  is  laid  in  a rolling  landscape,  where  in  the  distance  is 
seen  a Flemish  city,  doubtless  intended  to  represent  Jerusalem. 
In  the  center  upon  an  altar  stands  the  Sacrificial  Lamb,  kneel- 


20 


ing  about  are  angels  holding  aloft  the  emblems  of  the  Passion ; 
advancing  toward  the  altar  on  the  right  is  a band  of  holy 
women,  on  the  left  moves  forward  a procession  of  monks  and 
cardinals.  Below,  in  the  center  of  the  foreground,  stands  a 
fountain  of  crystal  water  with  a group  of  apostles  and  popes 
on  the  right,  a band  of  prophets  and  philosophers  on  the  left. 
The  lower  panel  to  the  right  represents  a band  of  pilgrims,  in 
the  outer  panel  St.  Christopher  with  his  pole  overtops  the 
host  of  his  companions.  On  the  left  is  a band  of  crusaders  and 
in  the  last  division,  with  long  hair  and  a dark  fur  cap  Hubert 
Van  Eyck  himself  ambles  forward  on  a white  pony.  In  the 
small  division  on  the  left  above  Adam,  Cain  and  Abel  are  repre- 
sented at  their  labor;  on  the  opposite  side,  above  Eve,  is 
represented  the  murder  of  Abel  by  his  brother. 

The  reverse  side  of  the  wings  is  divided  into  three  rows 
of  panels,  the  center  representing  the  Annunciation.  In  the 
lower  row  are  four  figures,  St.  John  the  Baptist,  St.  John  the 
Evangelist  and  the  donor  of  this  altar-piece  and  his  wife.  The 
top  row  has  small  semicircular  panels  > which  contain  the 
prophets  Zachariah  and  Micah,  the  inner  portions  contain  the 
Cumean  and  Erythrean  Sibyls. 

The  marvelous  skill  of  early  Flemish  painting  is  fully 
shown  in  this  celebrated  work.  Every  art  of  the  craftsman 
seems  to  have  been  employed  in  its  execution.  In  the  details 
of  landscape  and  architecture,  in  the  rendering  of  textures  and 
the  modeling  of  faces,  the  altar-piece  is  most  remarkable  for 
this  early  period.  There  is  not  to  be  found  in  the  whole  Flem- 
ish School  a composition  in  which  human  figures  are  grouped, 
designed  or  painted  with  so  much  perfection  as  in  this  repre- 
.sentation  of  the  mystic  Lamb. 

MEMLING. 

1425?-1495? 

Flemish. 

Hans  Memling,  the  best  loved  painter  in  the  Netherlands, 
comes  some  fifty  years  later,  and  divides  with  the  Van  Eycks 
the  laurels  of  early  Flemish  art.  This  artist  is  seen  at  his  best 
in  the  Hospital  of  St.  John  at  Bruges.  Though  differing  vastly 


21 


in  temperament,  in  his  methods  he  varied  little  from  the  former 
masters;  like  them  he  excelled  in  the  rendering  of  elaborate 
material  and  costly  accessories.  While  he  had  less  force  and 
exactness  than  the  Van  Eycks,  he  had  more  sentiment,  more 
imagination  and  was  a stronger  draughtsman.  He  delighted 
in  representing  old  and  touching  legends;  his  shrine  of  St. 
Ursula  is  famous. 

Memling’s  contribution  toward  artistic  development  was 
the  infusion  of  the  poetry  of  his  own  nature  into  the  accurate 
realism  which  marked  the  art  of  Flanders. 

6. 

ADORATION  OF  THE  MAGI. 

Hospital  of  St.  John,  Bruges. 

The  story  of  the  Adoration  of  the  Magi  is  in  its  nature 
picturesque,  and  many  legends  grew  up  around  it  as  the  cen- 
turies advanced.  It  was  soon  decided  that  the  Wise  Men  were 
kings;  for,  we  are  naively  informed,  in  these  early  days  it  was 
not  unusual  for  kings  to  be  wise.  Further  these  kings  were 
named  and  their  ages  fixed.  The  eldest,  with  the  long  white 
beard  is  known  as  Caspar,  the  middle  aged  as  Melchior,  the 
young  king  as  Balthasar.  The  latter  seems  to  have  had  his  com- 
plexion decided  as  well  as  his  name,  for  he  is  usually  represen- 
ted as  a negro.  They  are  now  known  as  the  “Three  Kings  of 
Cologne’’  and  lie  gorgeously  enshrined  in  that  most  glorious  of 
all  cathedrals. 

Memling  represents  the  Virgin  seated  in  a mined  manger 
holding  the  infant  Jesus,  at  whose  feet  kneels  the  eldest  of  the 
three  kings.  To  the  left  kneels  a second  offering  a precious 
casket,  to  the  right  an  Ethiopian  approaches  with  his  gift.  In 
obedience  to  his  love  of  realism,  Memling  introduced  into  his 
pictures  evidences  of  the  ancient  magnificence  of  the  city  of 
Bruges  and  the  costumes  of  his  personages  bear  testimony  to 
the  city’s  wealth.  The  rich  dress  of  the  Ethiopian  was  evi- 
dently copied  from  that  of  some  dusky  servitor  brought  from 
the  Orient  by  one  of  the  merchant  princes  of  this  Flemish 
Venice.  At  the  extreme  left  of  the  picture  kneels  Jan  Floreins 


22 


by  whose  order  this  altarpiece  was  painted ; at  the  right  looking 
in  at  a window  is  a representation  of  the  ar-tist  himself.  The 
conventional  ox  and  ass  are  in  the  background  and  through  the 
opening  just  above  them  one  catches  a glimpse  of  the  town 
which  is  a noticeably  fine  bit  of  perspective.  Memling  was 
beyond  his  contemporaries  in  his  treatment  of  landscape  as  a 
setting  for  figures  and  scenes. 

Despite  its  religious  conception  the  work  shows  that  close 
study  of  material  things  so  characteristic  of  the  Flemish  School , 
but  it  shows  too,  the  spirit  of  naturalism  which  was  now  be- 
coming manifest  in  art.  After  the  death  of  Memling  the  art 
of  Flanders  disappears  for  nearly  one  hundred  years  to  re- 
appear at  the  beginning  of  the  seventeenth  century  in  its 
crowning  genius — Rubens. 

FRA  ANGELICO. 

1387-1455. 

Florentine. 

Tuiming  back  to  Florence,  the  first  artist  of  any  special  note 
after  Orcagna  was  Fra  Angelico,  the  most  remarkable  example 
in  Italian  art  of  a religious  painter  of  religious  subjects.  In 
fact  the  climax  in  ecstatic,  mystical  religious  art,  was  reached 
by  this  gentle  Dominican  monk  who  painted  “for  the  love  of 
God  and  his  brethren.”  He  was  an  artist  of  single  minded, 
devout  spirit  applying  himself  to  his  Avork  in  the  full  belief 
that  it  was  a sacred  calling.  To  know  Fra  Angelico  aright  he 
must  be  seen  in  San  Marco.  His  name  is  intimately  connected 
with  this  famous  old  Monastery  which  contains  many  of  his 
best  works;  here,  painting,  fasting,  praying  for  nearly  forty 
years,  he  gained  the  power  to  convey  that  sense  of  religious 
devotion  and  calm,  which  is  the  keynote  of  his  work. 

Fra  Angelico  was  quite  a learned  painter  altliough  his 
“mystic  lyre”  held  but  very  few  chords.  There  is  a certain 
sameness  in  his  works  which  reflects  the  restricted  outlook  of 
the  cloister.  While  he  lived  in  the  fifteenth  century,  he  Avas 
wholly  untouched  by  the  Renaissance  spirit;  he  made  few^ 
advances  in  conception  or  technique,  but  no  artist  before  nor 
since  has  excelled  him  in  exalted  spirituality  of  expression. 


23 


7. 


THE  LAST  JUDGMENT. 

Academy,  Florence. 

Before  printed  books  were  in  use,  church  walls  were  de- 
pended  upon  for  instruction  in  Bible  history  and  Bible  lessons. 
The  Last  Judgment  is  a work  which,  as  Fra  Angelico  said,  was 
painted  to  advance  the  teaching  of  religion,  not  to  improve  the 
methods  in  art.  It  is  a somewhat  extraordinary  conception. 
Above,  in  the  center  sits  Christ  surrounded  by  a circle  of  ador- 
ing angels,  directly  beneath  him  are  the  Angels  of  the  Last 
Trump.  To  the  right  and  left  are  John  the  Baptist,  the  Vir- 
gin and  groups  of  the  apostles  and  patriarchs  with  their  ap- 
propriate emblems.  On  the  extreme  right  is  St.  Francis,  on  the 
extreme  left  is  St.  Dominic. 

The  terrestrial  scene  has  for  its  center  a pavement  of  tombs 
out  of  which  the  dead  have  arisen.  To  the  left  are  the  blessed, 
welcomed  and  embraced  by  charming  little  angels  who  lead 
them  onward  to  the  Heavenly  City.  To  the  right  are  lost 
souls  being  hurried  away  by  demons.  Monk  though  he  was, 
the  artist  has  distributed  his  rewards. and  punishments  with 
singular  impartiality  for  kings  and  queens,  monks  and  friars 
are  seen  in  the  assembly  of  the  wicked.  To  the  extreme  right, 
with  all  its  gruesome  torments,  is  hell  divided  into  the  usual 
mediaeval  regions.  This  portion  of  the  work  in  conception  and 
treatment  recalls  Orcagna’s  composition. 

To  see  much  to  admire  or  even  to  interest  in  many  of  the 
very  old  religious  conceptions  one  needs  to  remember  the  age 
in  which  the  artist  lived,  the  people  among  whom  he  moved 
and  the  purpose  for  which  he  painted. 

8. 

THE  CRUCIFIXION. 

Convent  of  St.  Mark,  Florence. 

In  the  Chapter  Llouse  of  the  convent  of  St.  Mark,  Florence, 
is  found  the  so-called  Crucifixion,  in  reality  the  ‘^Adoration 


24 


of  the  Cross  by  the  Monastic  Orders/’  one  of  Fra  Angelico’s 
greatest  paintings. 

At  the  left  of  the  center  stands  the  conventional  grou)) 
consisting  of  Mary  Magdalene  and  the  other  Mary  with  the 
fainting  figure  of  the  Madonna  sustained  by  St.  John.  The 
groups  to  the  right  for  whose  sake  the  fresco  was  really 
painted,  represent  the  founders  of  the  various  Monastic  Orders. 
Nearest  the  cross  kneels  St.  Dominic,  behind  him,  also  kneeling, 
is  St.  Jerome,  next  St.  Francis  bearing  his  cross,  next  St.  Ber- 
nard with  his  book,  then  San  Gualberto  and  last  St.  Peter  with 
his  wounded  head.  The  standing  figures  represent  St.  Albert 
habited  as  a bishop,  St.  Augustine  with  his  pen  and  book,  St. 
Benedict  with  his  scourge,  St.  Romualdo  holding  his  crutch, 
and  last  of  all  St.  Thomas  Aquinas.  On  the  left,  at  the  foot 
of  the  cross  of  the  penitent  thief,  whose  head  is  turned  toward 
Christ,  stands  John  the  Baptist,  the  patron  saint  of  Florence, 
beside  him  sits  St.  Mark,  the  patron  saint  of  the  monastery, 
next  St.  Lawrence  with  his  gridiron,  behind  him  stand  St. 
Cosimo  and  St.  Damian,  the  two  patron  saints  of  the  Medici 
family. 

In  the  bottom  of  the  frame,  the  prophets  of  the  Old  Testa- 
ment are  represented,  in  the  semi-circle  are  set  medallions 
containing  the  most  famous  Dominican  monks.  The  whole 
composition,  therefore,  indicates  the  devotion  to  the  Cross  by 
the  monastic  bodies,  the  subject  of  the  Crucifixion  being  a 
relatively  unimportant  part  of  the  picture. 


MASACCIO. 

1401?-1428? 

Florentine. 


In  every  century  there  seem  to  have  been  artists  who 
stand  out  as  innovators,  setting  art  a little  further  on  the  way 
toward  its  final  goal.  Such  an  one  was  Masaccio,  who  was  to 
the  fifteenth  century  what  Giotto  was  to  the  fourteenth,  and 
who,  in  the  short  span  of  twenty-seven  years,  gave  to  painting 
the  direction  it  was  to  pursue  to  the  end.  By  the  fifteenth  cen- 


25 


tury  tJie  spell  of  mediaeval  darkness  was  broken,  the  Renais- 
sance was  fairly  begun. 

As  the  artist  began  to  study  nature,  he  felt  more  and  more 
keenly  the  limitations  of  flat  symbolic  art;  one  of  his  early 
efforts  therefore  was  to  produce  in  his  pictures  an  impres- 
sion like  that  received  from  real  objects.  Giotto  had  led  the 
way,  but  Masaccio  added  so  much  to  what  his  predecessors  had 
accomplished,  that  he  is  justly  said  to  be  the  first  who  success- 
fully attained  to  the  imitation  of  things  as  they  really  are.  He 
introduced  the  intelligent  study  of  the  nude,  carried  relief  and 
modeling  to  a great  degree  of  perfection  and  made  a great 
advance  in  both  linear  and  aerial  perspective. 

9. 

THE  TRIBUTE  MONEY. 

Cliurch  of  the  Carmine,  Florence. 

On  the  walls  of  the  Brancacci  Chapel  in  the  Church  of 
the  Carmine,  Florence,  are  a series  of  Biblical  and  legendar>^ 
events  in  the  life  of  St.  Peter.  The  principal  one  on  the  left  as 
one  enters  the  little  chapel,  is  The  Tribute  Money,  based  on  a 
passage  in  St.  Matthew’s  gospel. 

In  this  work  of  Masaccio’s,  one  steps  from  the  Middle  Ages 
into  modem  life.  There  is  a change  in  feeling  as  well  as  a 
change  in  methods ; less  of  the  spiritual  exaltation  and  contem- 
plation which  is  so  evident  in  the  works  of  the  masters  of  the 
fourteenth  century,  but  more  dignity,  vigor  and  force.  Natur- 
alism found  a.  great  pictorial  interpreter  in  Masaccio.  His 
frescos  were  a source  of  inspiration  to  all  Florentine  painters 
of  the  fifteenth  century. 

In  the  center  Christ  gives  instructions  to  the  disciples, 
while  the  tax  gatherer  waits  with  expectant  gesture ; on  the  left 
Peter,  his  outer  garment  thrown  aside,  is  seen  drawing  up  the 
fish  .from  whose  mouth  he  takes  the  money ; on  the  right,  his 
mantle  resumed  and  again  the  “Prince  of  the  Apostles”  he  pays 
the  money  to  the  collector. 

As  Masaccio  and  his  followers  gained  skill  in  composition, 
they  began  to  show  more  care  for  stately  lines,  dignity  and 
appropriateness  in  dress.  The  varied,  picturesque  costume  of 


26 


Central  Italy,  they  felt  was  not  suited  to  noble  design  or  re- 
ligious themes,  therefore  a dress  was  specially  composed  foi- 
biblical  personages.  In  his  Vatican  frescoes  Raphael  repeated 
the  figures  and  grouping  of  this  and  other  splendid  compo- 
sitions of  Masaccio.  (Notice  the  similarity  of  costumes  on  some 
of  the  figures  in  Parnassus  and  in  Christ’s  Charge  to  Peter  by 
Raphael).  The  tax  gatherer  is  shown  in  short  tunic  and  tight 
stockings,  the  dress  of  the  time,  to  distinguish  him  from  the 
disciples. 

The  study  of  individual  character,  which  first  appear  in 
the  work  of  Masaccio,  was  a feature  of  great  importance  in  the 
evolution  of  Italian  painting.  The  tendency  toward  giving  the 
artistic  treatment  of  a picture  predominance  over  its  subject  had 
its  beginning  here.  The  inevitable  end  of  this  tendency,  as  will 
be  noticed  in  following  artistic  evolution,  was  to  throw  out  the 
purely  devotional  aim  which  had  hitherto  characterized 
painting. 

LIPPI. 

1406-1469. 

Florentine. 

The  first  real  successor  of  Masaccio  was  a painter  monk  of 
vei*y  different  mould  from  Fra  Angelico.  Fra  Filippo  Lippi 
became  a monk  rather  through  circumstance  than  because  he 
was  a religious  enthusiast.  The  example  set  by  Masaccio  of 
turning  his  back  upon  old  ascetic  types  was  followed  by  his 
pupil  in  an  original,  somewhat  unexpected  manner.  Fra 
Filippo  shattered  the  fetters  of  religious  painting  by  discarding 
traditional  monotonous  models.  In  exchange  he  brought  the 
human,  beautiful  element  into  art.  Without  scruple,  he  gave 
to  sacred  personages  the  features  of  living  men  and  women; 
now  for  the  first  time  the  Virgin  was  represented  as  a real 
Florentine  mother  and  the  infant  Jesus  given  the  natural  form 
of  a child.  Browning  has  vividly  described  the  dismay  of  the 
pious  friars,  as  they  looked  at  the  heathenishly  beautiful 
pictures  of  their  brother  monk. 

Fra  Filippo  has  neither  Masaccio’s  strength  and  vigor,  nor 
Fra  Angelico’s  deep  spiritual  feeling,  but  his  work  is  full  of  ^ 


27 


human  sweetness,  a sense  of  the  larger,  more  natural  life  that 
was  slowly  dawning  upon  Italy.  Painting  was  gradually  emerg- 
ing from  the  Dark  Ages , but  it  did  not  come  to  its  own  until 
1500. 


10 

THE  ANNUNCIATION. 

National  Gallery,  London. 

Annunciation  is  charming  both  in  its  human  element 
and,  its  tender  poetic  spirit.  The  faces  have  lost  the  pietistic, 
conventional  expression;  they  are  more  natural,  more  real. 
Were  it  not  for  his  nimbus  and  his  wings  the  angel  might  be 
any  curly  haired  Florentine  boy,  the  Virgin  a modest  Flor- 
entine maid,  yet  these  figures  with  their  earthly  type  of  beauty, 
have  a refined  simplicity  and  sweetness  which  is  entirely  har- 
monious with  the  sacredness  of  the  subject;  the  gentle  bearing 
of  the  angel  is  beautifull}^  echoed  by  the  timid  reverence  of 
the  Virgin.  Besides  the  portrait  element  the  artist  strikes 
yet  another  new  note  in  the  flowered  lawn,  in  the  strangeness 
and  variety  of  details  which  are  so  exquisitely  painted. 

These  subjects  from  the  life  of  Christ  and  the  Virgin  had 
been  represented  from  early  mosaic  times,  but  from  this  period 
there  is  a gradual  breaking  away  from  the  old  conventional 
representation.  In  following  the  growth  of  painting,  it  is 
interesting  to  notice  the  wide  variation  of  treatment  the  same 
subject  receives  according  to  the  time  and  place,  the  tempera- 
ment and  training  of  the  artist. 

11. 

COBONATION  OF  THE  VIPGTN. 

Academy,  Florence. 

The  Coronation,  a splendid  pictorial  tribute  to  the  Queen 
of  tradition  representing  the  Virgin  exalted  and  crowned  as  the 
Bride  of  Christ,  is  not  seen  until  the  twelfth  or  thirteenth  cen- 
tuiy,  when  it  is  found  in  mosaics  in  Florence.  Fra  Filippo^ 
conception  of  the  scene  is  a strikingly  beautiful  and  original 


28 


one.  Underneath  the  central  arch,  God,  the  Father,  places  the 
crown  upon  the  head  of  the  Virgin  who  kneels  before  Him,  on 
either  side  are  angels  bearing  sprays  of  lilies.  Fra  Filippo 
said  to  be  equally  at  home  with  the  inhabitants  of  heaven  and 
those  of  earth,  has  filled  the  foreground  with  varied  types  of 
worshippers — saints,  bishops,  monks,  nuns,  angels  and 
children. 

Among  these  splendidly  robed  figures,  conspicuous  by  his 
shaven  head  and  Carmelite  habit,  is  the  artist  himself,  clasping 
his  hands  devoutly,  his  eyes  fixed,  not  upon  the  Queen  of  Hea- 
ven, but  upon  the  face  of  a beautiful  girl  in  front  who  is  said 
to  represent  his  beloved.  In  the  upper  group  of  figures  the 
influence  of  Fra  Angelico  is  perceptible,  but  in  the  lower  throng 
surrounding  the  throne  Fra  Filippo’s  more  worldly  conception 
of  celestial  happiness  predominates. 

This  composition,  which  really  resolves  itself  into  a celes- 
tial and  terrestrial  scene,  is  remarkable  in  its  symmetrical 
arrangement,  and,  while  very  human  in  its  models,  is  spiritual 
in  its  essential  quality. 

GOZZOLI. 

1420-1498. 

Florentine. 

Side  by  side  with  the  men  who  were  associated  with  the 
characteristic  development  of  Florentine  art  of  this  period, 
were  several  artists,  not  perhaps  of  the  highest  rank,  but  who 
marked  out  individual  paths  for  themselves.  One  of  these  was 
Benozzo  Gozzoli  a pupil  of  Fra  Angelico.  His  lively  imagina- 
tion and  exuberant  fancy  were,  however,  in  direct  contrast  to 
the  lofty  seriousness  of  the  Dominican  painter.  To  Gozzoli  is 
given  the  glory  of  having  been  the  first  to  turn  his  attention  to 
an  essentiall}^  picturesque  treatment  of  Old  Testament  sub- 
jects ; as  a story  teller  and  illustrator  he  had  few  rivals.  Turn- 
ing from  the  ideality  of  Fra  Angelico  he  seems  to  have  reveled 
in  the  study  of  nature  and  real  life.  His  work  is  full  of  de- 
lightful freshness  and  fanciful  imagery,  features  which  were 
peculiarly  characteristic  of  his  spontaneous,  independent 
genius. 


29 


12. 


THE  DRUNKENNESS  OF  NOAH. 

Campo  Santo,  Pisa. 

One  of  Gozzoli’s  most  famous  works  is  a series  of  paint- 
ings on  one  of  the  walls  of  the  Campo  Santo,  Pisa.  The 
Campo  Santo — the  small  burial  place  of  Pisa,  Italy — is  an 
oblong  court  surrounded  by  cloisters  of  white  marble.  A portion 
of  the  earth  within  this  enclosure  is  said  to  have  been  brought 
from  Palestine  by  the  Crusaders.  The  interior  walls  of  the  ar- 
cades are  covered  with  frescos;  an  earlier  example  of  these 
peculiar  compositions  is  found  in  Orcagna’s  Triumph  of  Death 
which  hangs  in  the  collection  as  number  four.  Still  more  con- 
spicuous are  Benozzo’s  frescos  on  the  north  wall,  works  of  such 
enormous  size  they  would  scare  a whole  army  of  painters  and 
which  occupied  fifteen  years  in  painting. 

The  story  of  Noah  is  represented  as  taking  place  in  the 
vineyards  and  gardens  of  a splendid  palace  where  young  men 
mounted  on  ladders  are  gathering  grapes  from  a remarkably 
painted  trellis  overhead;  young  women  take  them  away  in 
baskets  to  a wine  press  where  the  juice  is  crushed  from  them  hy 
a bare-legged  youth.  A group  in  the  foreground  shows  the  aged 
Noah  with  his  hand  upon  the  head  of  a child  who  stands  beside 
him ; another  child  frightened  by  a dog  barking  at  two  boys 
seated  on  the  ground  near  by,  clings  to  his  robe.  Farther  to 
the  right  Noah  is  again  introduced  among  a group  of  Tvomen, 
holding  in  his  hand  a goblet  of  wine  which  he  seems  about  to 
drink.  The  other  portion  of  the  work  represents  the  patriarch 
overcome  by  the  intoxicating  liquid. 

Artists  are  now  entering  into  the  second  period  of  develop- 
ment, when  nature  and  life  make  an  appeal.  The  old  Bible 
story  is  made  the  excuse,  so  to  speak,  for  the  portrayal  of  a 
picture  of  Italian  rural  life,  no  thought  being  taken  to  place 
the  scene  in  its  natural  surroundings. 


80 


13. 


THE  VINTAGE. 

Detail  from  the  Drunkenness  of  Noah. 

Campo  Santo,  Pisa. 

This  detail,  called  The  Vintage,  shows  only  the  first  scene 
— the  left  hand  corner  of  the  fresco.  In  it  one  can  better  judge 
the  naturalness  of  the  surroundings,  the  modeling,  pose  and 
action  of  the  figures;  features  which  show  the  strides  artists 
were  making  toward  the  truthful  representation  of  natural  form 
and  various  objects  in  nature.  The  scene  is  such  as  Gozzoli 
must  often  have  witnessed  in  the  grape  country  of  Tuscany. 

14. 

PROCESSION  OF  THE  THREE  KINGS. 

Chapel  of  the  Riccardi  Palace,  Florence. 

One  of  the  finest  frescos  in  all  Italy  is  the  Procemion  of 
the  Three  Kings,  on  the  walls  of  the  Riccardi  Palace,  an  old 
Medici  residence  still  standing  in  Florence.  All  the  festive 
pomp  and  splendor  of  court  pageants  which  the  Medici  had 
brought  into  the  simple  life  of  Florence,  with  all  the  glamour  of 
fairy-romance,  is  gathered  in  this  triumphal  procession  of  the 
Three  Kings  as  they  wind  over  hill  and  vale  on  their  way  to 
the  manger  of  Bethlehem. 

Under  the  pretense  of  representing  the  Magi  and  their 
suite,  the  artist  has  painted  a cavalcade  of  Florentine  gentlemen 
who  are  journeying  over  the  Tuscan  hills.  They  are  following 
the  windings  of  a zigzag  road  cut  in  the  rocks  and  so  arranged 
that  one  can  see  the  procession  at  various  points.  It  has  not  the 
slightest  resemblance  to  a small  group  of  Eastern  monarchs 
coming  to  pay  their  homage  to  the  infant  Christ,  but  is  simply 
an  imposing  pageant  of  nobles,  who  with  their  gorgeous  train 
and  equipment  are  on  their  way  to  a hunt  or  some  other  form 
of  amusement.  They  are  accompanied  by  pages  dressed  in 
handsome  liveries,  gaily  caparisoned  horses,  falcons  and  grey- 
hounds ; a little  Oriental  color  is  given  by  the  introduction  of  a 
few  camels. 

Among  the  crowd  of  horsemen  in  this  portion  of  the  fresco, 


31 


it  has  been  conjectured,  are  the  aged  Cosimo  de  Medici  on  a 
white  horse,  accompanied  by  Piero  and  Giovanni  de  Medici  the 
father  and  uncle  of  Lorenzo  the  Magnificent.  Other  well 
known  personages,  members  of  the  Medici  family,  nobles, 
scholars,  even  the  painter,  Benozzo  Gozzoli  himself,  are  repre- 
sented in  the  brilliant  cortege  winding  slowly  among  the  rocky 
p^ses  of  the  hills.  The  whole  cavalcade  is  moving  joyously 
along  and  forms  a delightful  mixture  of  worldly  and  religious 
elements.  The  fresco  is  particularly  characteristic  of  the  pic- 
turesque style  of  this  ‘‘painter  of  earth’s  gaieties.” 

15. 

ADORATION  OF  THE  MAGI. 

Campo  Santo,  Pisa. 

Another  fresco  of  Benozzo’s,  now  nearly  obliterated,  on  the 
walls  of  the  Campo  Santo.  It  shows  the  same  picturesque 
treatment  which  Gozzoli  gave  to  all  his  subjects  and  is  very 
similar  in  style  to  the  “Procession  of  the  Three  Kings.”  The 
work  makes  an  interesting  comparison  to  Memling’s  conception 
of  the  same  subject. 

VERROCCHIO. 

1435-1488. 

Florentine. 

Aterrocchio  is  perhaps  the  least  known  and  appreciated  of 
the  masters  of  the  fifteenth  century.  In  feeling  and  in  reality 
more  of  a sculptor  than  a painter,  his  foremost  aim  seems  to 
have  been  to  represent  the  human  figure  not  only  in  its  per- 
fection of  physical  strength,  but  in  its  highest  intellectual 
beauty.  He  devoted  his  life  to  acquiring  a thorough  knowl- 
edge of  anatomy,  and  in  technical  ability  was  probably  in  ad- 
vance of  any  of  his  contemporaries. 

In  landscape  he  was  a decided  innovator — but  only  in  his 
own  country.  For,  as  has  been  said,  Italian  art  was  the  favored 
child,  but  not  the  eldest  one  of  the  Renaissance.  The  Van 
Eycks  had  painted  exquisite  landscape  in  Flanders  twenty 
years  before  the  birth  of  Verrocchio.  Verrocchio’s  reputation 

32 


as  a painter  rests  almost  entirely  upon  this  one  picture,  as  it  is 
the  only  one  which  can  with  absolute  certainty  be  ascribed 
to  him. 

16. 

THE  BAPTISM. 

Academy,  Florence. 

As  a sacrament  of  the  Christian  Church  the  subject  of 
baptism  became  from  very  early  times  the  keynote  in  the  de- 
coration of  every  baptistry.  The  representation  of  landscape 
was  almost  a lost  art  during  the  mediaeval  centuries,  hence  the 
technical  difficulties  of  this  feature  were  a serious  obstacle  in 
the  path  of  primitive  artists ; their  solution  of  the  river  scenery 
problem  is  extremely  interesting. 

In  the  earliest  pictures  the  water  is  represented  by  a series 
of  parallel  lines  drawn  across  the  composition  between  two 
angular  banks  rising  on  either  side,  the  water  in  most 
instances  reaching  to  the  waist  or  even  to  the  shoulders.  As 
time  went  on,  however,  the  river  became  more  shallow  until, 
as  in  this  typical  picture  of  the  Italian  Renaissance,  it  covers 
the  Saviour’s  feet  only,  thus  affording  an  opportunity  eagerly 
embraced  by  the  painters  of  this  period,  for  representing  the 
nude. 

St.  John  with  his  ascetic  features  is  a strong  figure;  the 
cup,  the  cross  he  holds,  as  well  as  his  position  are  strictly 
conventional,  the  hands  discharging  the  dove  are  symbolic, 
but  the  angels  are  natural  and  beautiful.  They  were  probably 
added  at  a later  date,  one  (or  both)  of  them  presumably  by 
Leonardo  da  Vinci,  who  was  Verrocchio’s  pupil.  Verrocchio 
had  much  to  do  with  shaping  the  art  of  his  immediate  success- 
ors; his  Baptism  was  adopted  as  a model  for  all  later  represen- 
tation of  that  theme. 

GHIRLANDA.JO. 

1449-1494. 

Florentine. 

Domenico  Ghirlandajo  is  one  of  the  trio  of  great 
Florentine  painters,  whose  works  filled  the  last  quarter  of  the 


33 


fifteenth  century.  Although  he  had  leSvS  tenderness  than 
Filippo,  and  less  sentiment  than  Botticelli,  he  was  a stronger, 
more  direct  painter  than  either.  He  showed  his  force  in 
seizing  the  personality  of  his  models  and  in  his  evident 
understanding  of  human  nature.  He  showed,  too,  a decided 
tendency  toward  realism;  in  fact,  he  probably  represented  in 
his  school  the  highest  development  of  that  quality. 

The  portrait  is  a prominent  characteristic  of  Ghirlandajo’s 
work;  under  him  it  is  said  to  have  first  become  an  indepen- 
dent branch  of  art.  Like  most  artists  of  his  period,  he  intro- 
duced likenesses  of  his  contemporaries  with  their  customs  and 
costumes  into  his  representations,  and  is  a very  entertaining 
painter  for  he  gives  one  delightful  glimpses  into  the  social  life 
of  Florence.  He  was  the  greatest  fresco  painter  of  this  period 
and  the  instructor  of  Michael  Angelo. 

17. 

OLD  MAN  AND  HIS  GRANDSON. 

Louvre,  Paris. 

This  strong  picture — an  Old  Man  and  His  Grandson — is 
one  of  special  interest,  not  only  as  a remarkable  example  of 
the  artist’s  skill  in  portraiture,  but  of  his  power  in  portray- 
ing human  expression.  Painters  have  made  long  strides  in 
drawing  and  characterization  since  Cimabue’s  day. 

Ghirlandajo  is  uncompromising  in  his  realism  here.  The 
imperfections  on  the  face  of  the  old  man  have  not  been  softened 
in  the  slightest  degree,  yet  the  objectionable  features  are  fully 
redeemed  by  his  expression  of  benevolent  kindliness,  strength 
and  sweetness.  There  is  a subtle  pathos  in  the  smile  of  the 
old  gentleman  which  appeals  at  once  to  one’s  sentiment.  The 
face  of  the  child  makes  its  own  strong  appeal  in  its  entire 
unconsciousness  of  all  disfigurements  on  the  countenance  of  his 
friend ; his  expression  of  adoring  affection  and  trust  is  wonder- 
fully perfect. 

One  loses  sight  of  the  ugly  features  in  the  strength  of  the 
impression  made  by  the  very  human  sentiment  and  the  ideal 
relation  existing  between  the  old  man  and  his  little  companion. 


34 


18. 


MADONNA  ENTHRONED. 

Uffizi  Gallery,  Florence. 

The  worship  of  the  Madonna  was  of  gradual  growth  and 
exercised  a very  humanizing  influence  over  the  nations  of 
Europe  as  they  worked  their  way  upward  from  barbarism.  In 
obedience  to  ecclesiastical  teaching,  the  “lowly  maiden”  was 
lifted,  step  by  step,  until  she  was  the  central  object  of  devotion 
— the  enthroned  Mother  of  God,  the  Queen  of  heaven.  In 
the  history  of  art  development,  the  enthroned  Madonna  begins 
when  the  portrait  Madonna,  the  earliest  style  ends,  and  dates 
from  the  thirteenth  century. 

This  composition,  like  most  works  of  the  type,  represents 
the  Virgin  with  the  Child  on  her  knee,  seated  in  the  center  of 
an  assembly  of  personages  symmetrically  grouped  about  her. 
The  Saints  Zenobius  and  Justus  kneel  before  her,  on  the  left 
stands  the  angel  Michael  in  full  armor,  on  the  right  the  angel 
Gabriel.  On  each  side  of  the  throne  are  two  angels,  two  also 
are  in  front  bearing  sprays  of  lilies;  over  the  steps  at  the 
Madonna’s  feet  is  laid  an  oriental  rug,  with  its  texture  wonder- 
fully painted;  a vase  of  Ascension  lilies  stands  in  the  fore- 
ground. The  panel  is  a work  of  Ghirlandjo’s  early  manner  in 
which  the  details  are  most  carefully  worked  out. 


19. 

NATIVITY  OF  THE  VIRGIN. 

Santa  Maria  Novella,  Florence. 

In  the  Church  of  Santa  Maria  Novella  is  found  The  Nativ- 
ity of  the  Virgin,  one  of  Ghirlandajo’s  finest  frescos.  It  shows 
the  interior  of  a magnificent  palace  ornamented  with  rich  carv- 
ing; particularly  attractive  is  the  frieze  of  charming  dancing 
boys,  whose  figures  stand  out  in  somewhat  prominent  relief. 
This  architectural  background  with  its  decorative  detail  is  a 
feature  in  which  Ghirlandajo  especially  delighted. 

At  the  right,  Anna,  the  mother  of  the  Virgin,  in  a half 
reclining  position  is  watching  the  group  of  three  women  in 


35 


front  who  are  intent  upon  the  newborn  infant.  The  principal 
interest  of  the  picture  centers  in  this  little  scene  in  the  fore- 
ground, which  is  an  exact  representation  of  the  ordinary  life 
of  the  fifteenth  century.  The  figure  of  the  serving  maid,  with 
her  fluttering  draperies  and  her  graceful  pose  as  she  pours 
water  into  a basin,  is  one  of  Ghirlandajo’s  characteristic  crea- 
tions. It  contrasts  strikingly  with  the  stately,  gorgeously 
dressed  young  Florentine  woman  who  stands  foremost  in  the 
group  of  spectators.  The  scene  at  the  left,  on  the  upper  land- 
ing of  a short  flight  of  stairs,  represents  Joachim  and  Anna, 
parents  of  the  Virgin,  embracing. 

Jn  illustrating  Bible  stories,  artists  often  used  incidents 
widely  separated  in  point  of  time  and  place,  and,  just  as  often, 
they  completely  disregarded  all  possible  or  conceivable  facts 
of  costume  or  surroundings.  But  Ghirlandajo  evidently  knevr 
what  was  required  of  him ; accordingly  he  gratified  his  desire 
for  picturesque  representation,  and  at  the  same  time  gave  the 
monks  what  they  wanted — a stately  group  with  an  effective 
setting  to  adorn  their  church. 

Paduan  School. 

It  is  now  more  than  one  hundred  and  fifty  years  since 
Giotto  and  his  followers  commenced  their  efforts  to  emancipate 
painting  from  the  formalism  of  Byzantine  tradition.  The 
classic  spirit  had  manifested  itself  here  and  there,  but  it  was 
left  to  the  little  town  of  Padua,  in  the  north  of  Italy,  to  be  the 
first  to  apply  to  painting  the  principles  governing  classic  art, 
and  to  be  foremost  in  the  revival  of  classical  learning. 

Umbria  remained  true  to  the  religious  sentiment,  Florence 
concerned  itself  largely  with  nature  study,  but  Paduan  artists 
seem  to  have  worked  directly  from  antique  marbles.  This 
study  gave  them  great  mastery  in  delineating  the  human 
figure;  the  school,  therefore,  is  characterized  by  a certain  sculp- 
turesqueness of  form  and  arrangement  and  by  a mythological 
tendency  in  subjects  The  classic  style  effected  by  its  follower 
became  extremely  popular  not  only  throughout  Italy,  but  in 
other  countries  as  well. 


36 


MANTEGNA. 

1431-1506. 

Paduan. 

Among  the  precursors  of  llaphael,  Mantegna  stands  con- 
spicuously between  Masaccio  and  Leonardo  da  Vinci.  He  was 
not  only  the  greatest  artist  of  the  Paduan  School,  but  his  name 
is  influentially  connected  with  the  growth  of  Italian  art.  He 
was  especially  characteristic  of  his  age — the  age  of  the  revival 
of  the  classic  and  the  antique — and  he  contributed  much  to  the 
art  of  composition.  The  result  of  Mantegna’s  study  of  sculp- 
ture was  a certain  stiffness  and  rigidness  in  lines  and  figures. 
His  people  were  noble,  usually  solemn  and  rather  unemotional 
in  expression  for  he  was  more  of  a draughtsman  than  a senti- 
mentalist or  colorist. 

Hitherto  painting  had  been  regarded  as  the  handmaid  of 
religion,  but  with  Masaccio  and  Mantegna  it  attained  complete 
emancipation  from  the  formalism  of  the  Byzantine  School  and 
received  an  independent  dignity  as  an  art  for  its  own  sake. 

20. 

MADONNA,  ST.  JOHN  AND  MARY  MAGDALENE. 

National  Gallery,  London. 

Mantegna’s  mastery  of  the  human  form  is  clearly  appar- 
ent in  these  statuesque  figures.  They  are  finely  poised,  noble 
types,  with  little  of  the  ascetic  feeling  of  earlier  Florentine 
pictures.  The  face  and  attitude  of  the  Virgin  are  particularly 
expressive  of  humility  and  tender  sweetness.  On  either  side 
of  her  stands  St.  John,  the  Baptist,  and  Mary  Magdalene — fine 
figures  clothed  with  most  elaborate  draperies  which  display 
rather  than  hide  the  outline  of  their  forms.  The  Magdalen, 
looking  upwards,  holds  the  box  of  ointment  which  she  is  later 
to  break  over  the  feet  of  her  forgiving  Lord;  St.  John  holds  a 
cross  to  which  is  attached  a scroll  bearing  the  inscription  in 
Latin,  “Behold  the  Lamb  of  God.” 

The  arrangement  of  the  garments  shows  unmistakable 
evidence  of  Mantegna’s  study  of  classic  marbles.  A peculiar- 


37 


feature  of  Mantegna’s  draperies  is  the  multitude  of  little  cling- 
ing folds  which  resemble  bronze  sculpture. 

21. 

PAENASSUS. 

Louvre,  Paris. 

While  court  painter  at  Mantua,  Mantegna  was  commis- 
sioned to  paint  for  the  study  of  Isabella  d’Este,  wife  of  the 
Marquis  of  Mantua,  two  mythological  pictures;  the  Parnassus 
here  represented  was  one.  In  this  work  he  anticipated  the 
developments  of  the  sixteenth  century  in  which  artists  began 
to  concern  themselves  with  other  than  religious  subjects. 

The  scene  represents  Parnassus^  the  favorite  haunt  of 
Apollo  and  the  Muses  where,  upon  a rocky  archway  crowned 
with  orange  trees,  stands  Mars  the  god  of  war  and  Venus  the 
goddess  of  love  and  beauty.  At  their  side  is  Cupid,  playfully 
casting  darts  at  Vulcan  who  may  be  seen  at  his  forge  on  the 
left.  Below  them  the  Muses  in  light  graceful  draperies  dance 
to  the  music  of  Apollo’s  lyre.  To  the  right  is  Mercury,  the 
messenger  of  the  gods,  and  himself  the  god  of  eloquence,  with 
the  winged  horse  Pegasus  beside  him. 

Mantegna  had  here  an  admirable  opportunity  to  give 
expression  to  his  passion  for  the  classic  period  of  history  with 
its  poetry  and  its  myths.  The  figures  are  delightful,  the  traits 
of  each  in  symbolic  dress  and  ornament  remarkably 
brought  out ; particularly  fine  is  the  central  group  of  the  Muses 
with  their  classic  Greek  draperies  and  their  graceful  rhythmic 
movements. 

Venetian  School. 

Coming  now  to  the  Venetian  School  one  finds  that  the 
conditions  of  art  production  in  Venice  during  the  early 
Renaissance  were  very  different  from  those  in  other  parts  of 
Italy.  Out  of  its  unique  geographical  and  political  condition, 
the  city  developed  an  art  peculiar  to  itself  and  in  the  fifteenth 
century  founded  a school  destined  to  rival  that  of  Florence  in 
brilliancy;  the  Venetians  were  not  landsmen;  they  lived  and 


38 


ttioved  surrounded  on  all  sides  by  the  sea;  the  shifting  melo- 
drama of  azure,  flame  and  gold  of  sky  and  lagoon  daily  before 
their  eyes,  naturally  had  much  to  do  with  their  ideal  of  beauty. 
Further,  their  free,  joyous  manner  of  life  made  them  wholly 
averse  to  any  morbid  conditions  of  sentiment,  poetry  or  piety ; 
consequently  Venetian  artists  were  not  saturated  with  religious 
motives^  or  with  the  classical,  nor  intent  on  natural  repre- 
sentation. 

By  the  time  they  had  attained  any  real  mastery  over  their 
art,  Venice  was  already  in  a state  of  great  magnificence.  Her 
painters,  inspired  by  the  glory  of  sky  and  sea,  the  splendor  of 
architecture,  the  pomp  of  pageants,  developed  a worldly  luxur- 
ious art  whose  motive  was  to  set  forth  the  grandeur  and  power 
of  their  beautiful  city  in  the  richest,  most  gorgeous  decora- 
tions. Religion  was  the  source  of  the  art  of  Venice  as  it  has 
been  the  source  of  every  art,  but  the  Venetian  religion  was  of 
the  world,  not  something  apart  from  it  like  the  Umbrian. 

The  school  therefore,  after  Bellini,  is  distinguished  by  the 
rendering  of  material  magnificence  as  exemplified  in  the  superb 
representations  of  pageants,  religious  and  ceremonial  functions 
and  by  a very  miracle  of  color;  a medium  which  prevailed 
through  Venetian  art  from  the  beginning  and  was  its  dis- 
tinctive characteristic. 

BELLINI. 

1428-1516. 

Venetian. 

Venetian  art  practically  dates  from  the  Bellinis.  Giovanni, 
the  greatest  of  his  family,  was  the  true  founder  of  the  Venetian 
School.  In  his  early  work,  probably  due  to  the  influence  of 
Mantegna,  there  is  a certain  hardness  of  treatment;  later  his 
style  grew  softer  and  he  adopted  the  oil  medium  of  the  Van 
Eycks,  which  w^as  introduced  into  Venice  by  Antonello  da 
Messina.  Then  he  began  that  marvelous  symphony  of  color,,, 
later  perfected  by  Titian,  and  developed  a style  more  in  accord- 
ance with  Venetian  ideas.  The  greatest  artist  of  the  fifteenth 
century  in  Venice,  of  all  her  painters  he  showed  the  truest, 
deepest,  most  touching  piety.  From  his  works  can  be  discov- 


39 


ered  the  origin  of  the  heights  reached  by  the  Venetian  School 
in  the  sixteenth  century. 


22. 

DOGE  LOREDANO. 

National  Gallery,  London. 

Few  things  in  portraiture  are  finer  than  this  celebrated 
portrait  of  the  Doge  Loredano.  Bellini  lived  in  an  age  when 
the  portrayal  of  character  was  an  important  aim  of  art,  and 
in  this  example  has  given  convincing  proof  of  his  own  skill 
in  character  delineation.  The  Doge’s  biography  might  easily 
be  written  from  the  tell-tale  lines  of  the  aristocratic  face.  He 
was  an  intrepid  warrior  who  carried  the  Venetian  Republic 
through  some  of  the  most  trying  and  tumultuous  periods  of 
its  existence, 

Loredano,  who  was  the  sixty-seventh  Doge,  belonged  to 
one  of  the  most  ancient  families  in  the  state,  and  Venice  under 
his  rule  became  one  of  the  Great  Powers  of  Europe.  To  those 
familiar  with  Italian  history,  this  portrait  will  bring  to  mind 
a train  of  interesting  events  connected  with  the  golden  days 
of  Venice. 

23. 

MADONNA  ENTHRONED. 

Central  Panel  from  the  Frari  Altarpiece. 

Church  of  the  Frari,  Venice. 

Venetian,  like  other  Italian  art  had  its  roots  in  the  old 
Byzantine  tradition  of  painting  which  had  departed  farther 
and  farther  from  any  actual  representation  of  the  human  form 
until  it  became  merely  a symbol  of  religious  ideas.  Bellini 
had,  in  large  measure,  freed  himself  from  this  tradition.  His 
Madonna  reveals  Byzantine  influence,  but  shows^too,  the  truth 
of  actual  facts  and  the  influence  of  the  new  learning  which 
was  then  making  itself  felt  in  Venice. 

This  most  beautiful  altarpiece  has  been  called  the 
finest  expression  of  Bellini’s  art.  The  noticeable  dignity  of 


40 


character  given  the  figures  is  increased  by  the  impressive,  mag- 
nificent architectural  setting;  the  statuesque  forms  of  the  Vir- 
gin and  Child  are  greatly  enhanced  by  the  open  space  of  crim- 
son and  gold  around  them ; the  effect  is  to  isolate,  to  accentuate 
the  feeling  of  austerity  and  aloofness  expressed  here,  as  in 
all  Giovanni’s  Madonnas. 

The  delightful  angel  musicians  are  some  of  the  most 
exquisite  creations  of  the  type  of  which  the  Italian  school  was 
so  happily  productive.  With  entire  unconsciousness  of  them- 
selves or  their  surroundings,  they  play  for  the  glory  of  the 
Madonna.  The  picture  reveals  the  religious  side  of  Bellini’s 
art,  and  gives  an  effect  of  grave  distinction  and  dignity. 

CARPACCIO. 

1440?-1522? 

Venetian. 

Carpaccio,  who  is  little  known  outside  of  Venice,  was  the 
immediate  follower  of  Giovanni  Bellini.  He  was  more  roman- 
tic and  chivalric  than  religious  showing  a decided  preference 
for  legendary  subjects,  in  which  he  was  particularly  successful. 
He  was  remarkable  for  his  knowledge  of  architecture,  costumes, 
oriental  settings  and  for  his  strong  sense  of  the  picturesque. 
He  was  also  a delightful  story-teller;  the  daily  life  of  the  Venice 
of  his  day  lives  again  on  his  canvases.  His  work  is  imagin- 
ative, earnest,  always  sincere,  yet  with  a lightness  of  fancy,  a 
joyful  sanity  about  it  that  is  very  captivating. 

24. 

PRESENTATION  IN  THE  TEMPLE. 

Academy,  Venice. 

The  Presentation  originated  with  the  Byzantines  and  first 
appeared  as  an  art  subject  in  mosaics.  The  scene  is  always  laid 
in  the  temple  with  the  Virgin  and  Child,  the  officiating  prie.st 
Simeon,  Anna  the  prophetess  and  often  other  spectators. 

In  Carpaccio’s  fine  treatment  of  the  subject  one  detects 
Byzantine  influence  in  the  decoration  of  the  mosaic  back- 


41 


ground.  The  strong  relief  of  the  figures  suggests  an  acquain- 
tance with  classic  marbles — but  the  rich,  brilliant  color  is  purely 
Venetian.  St.  Simeon  with  his  splendid  robe  is  a nobly  con- 
ceived figure;  the  wide  border  of  his  priestly  garment  shows 
exquisite  workmanship  in  its  simulation  of  elaborately  embroi- 
dered scenes  from  the  Old  Testament.  The  grace  of  attitude, 
the  sweetness  of  expression  of  the  Virgin  and  her  two  attendants 
are  unusually  attractive,  while  one  is  quite  inclined  to  agree 
with  Euskin  when  he  calls  the  infant  Jesus  “the  most  beautiful 
baby  in  Venetian  art.” 

Nothing  in  the  picture  is  more  charming  than  the  three 
little  musicians  with  their  artless  expressions  and  their  varied, 
unconscious  attitudes.  Carpaccio  followed  Bellini’s  habit  of 
introducing  into  his  Madonnas  quaint  little  boy  angels  playing 
on  musical  instruments. 

BOTTICELLI. 

1446-1510. 

Florentine. 

The  effect  produced  upon  the  painting  of  the  fifteenth 
century  by  the  revival  of  the  study  of  Greek  writers  and 
the  masterpieces  of  antique  sculpture  was  to  reveal  a new  life. 
The  old  ascetic  idea  that  men  must  renounce  the  world  and  its 
pleasures  was  gradually  giving  place  to  a realization  of  its 
beauty  and  the  joy  of  living.  The  field  of  art  began  to  widen, 
artists  began  to  draw  their  inspiration  from  their  imagination, 
to  adapt  their  themes  to  the  present  life. 

A striking  figure  in  this  period  of  transition — the  particu- 
lar exponent  of  the  struggle  between  the  new  spirit  and  the  old 
— was  Botticelli.  An  eminent  draughtsman  and  a learned 
student  of  the  antique,  he  was  the  first  to  step  boldly  forth 
and  introduce  into  his  paintings  all  kinds  of  fanciful  creations 
drawn  from  poetry,  myth  and  fable.  Later  in  life  he  came 
under  the  influence  of  Savonarola’s  teaching,  and  abandoned 
pagan  themes.  His  pictures  from  henceforth  were  inspired 
by  religion.  Though  perhaps  not  one  of  the  greatest  masters, 
he  has  a singular  and  peculiar  fascination  that  marks  him  as 


42 


unique  and  his  delicate  creations  of  rare  fancy  are  possessed  of 
a haunting  charm,  once  it  has  been  felt. 

Religious  feeling,  a love  for  classic  beauty  and  for  nature 
are  all  felt  in  his  work,  yet  a touch  of  mediseval  asceticism 
seems  to  predominate.  This  accounts^  perhaps /or  the  vein  of 
melancholy  apparent  in  all  his  compositions.  His  yearning  for 
an  ideal  beauty  combined  with  spirituality  was  later  fulfilled 
in  Raphael. 

25. 

MADONNA  AND  CHILD. 

National  Gallery,  London. 

This  somewhat  morbid  looking  Madonna  shows  a ming- 
ling of  the  mediseval  and  modern  spirits;  while  it  escapes  the 
rigidity  of  form  of  the  mediaeval  period  it  is  strongly  tinged 
with  its  spiritual  feeling.  The  attitude  of  the  Virgin  and  her 
abstracted  expression  suggest  some  of  the  Byzantine  Madon- 
nas ; her  features,  however,  are  rounded  and  full,  the  draperies 
gracefully  arranged.  The  two  angels  with  their  quaint  ascetic 
faces  fill  out  the  tondo — the  circular  form  so  much  a favorite 
with  this  artist. 

Botticelli’s  Madonnas  are  of  a distinct  and  peculiar  type. 
In  their  wistful,  unsatisfied  expression  is  seen  the  reflection  of 
his  own  spirit  as  he  peered  through  the  still  lingering  darkness 
of  the  mediaeval  age  toward  that  new  light  which  was  just 
beginning  to  dawn  on  the  world  of  his  time.  This  gives  his 
work  a peculiar  significance;  a large  part  of  it  shows  signs  of 
the  conflict  between  pagan  and  Christian  ideals. 

26. 

MADONNA,  CHILD  AND  ST.  JOHN. 

Louvre,  Paris. 

The  charm  of  this  Madonna  is  felt  at  first  glance  but  new 
beauties  reveal  themselves  with  every  renewed  study  of  it.  It 
is  full  of  exquisite  ovals  and  curves;  an  artistic  happening 
perhaps,  but  more  likely  the  result  of  careful  planning  on  the 
part  of  the  artist,  for  he  was  past  master  of  line. 

Botticelli’s  mind  was  in  a state  of  perpetual  conflict 


43 


between  his  devotion  to  his  religious  belief  and  his  devotion  to 
his  beloved  paintpots  and  brushes ; the  influence  of  his  mediae- 
val theology  is  evident  here,  although  the  picture  shows  more 
of  a feeling  for  physical  beauty  than  is  usual  with  him.  The 
Virgin’s  face  is  wonderfully  pure  and  lovely  at  the  same  time 
it’s  expression  suggests  a sorrowful  realization  of  the  destinj^ 
imposed  upon  her.  The  gesture  and  look  of  the  Child  are 
inexpressibly  winning,  the  touch  of  the  hand  on  the  Mother’s 
neck  and  the  chubby  awkwardness  of  the  feet  charmingly  true 
to  life.  The  little  St.  John  with  his  shaggy  sheep-skin  mantle 
over  his  shoulders  has  the  face  of  a woodland  faun — yet  it 
shows  a certain  spirituality  and  devotion. 

^his  most  charming  of  Botticelli’s  many  Madonnas  has  a 
quaint  picturesqueness,  a solemn,  old-time  air  about  it  as  well 
it  may  have,  for  it  was  painted  long  ago;  within  only  a few 
years  of  the  date  when  Columbus  first  sighted  the  new  world. 

27. 


CORONATION  OF  THE  VIRGIN. 

Uffizi,  Florence. 

This  famous  Coronation,  often  called  ‘‘The  Magnificat” 
is  a tondo — a circular  form  of  picture  introduced  by  Lippi — 
which  in  beauty  of  design  and  depth  of  feeling  probably 
surpasses  any  of  Botticelli’s  numerous  works. 

The  Virgin  is  represented  in  the  act  of  dipping  her  pen 
into  ink  to  write  her  song  of  praise — “My  Soul  Doth  Magnify 
the  Lord,”  on  the  pages  of  an  open  missal;  the  Child  on  her 
knee,  as  he  guides  her  hand,  looks  up  into  her  face  as  with  a 
sudden  flash  of  inspiration.  Two  loveh^  angels  with  wonder- 
fully spiritual  faces  and  with  most  graceful  gestures  place  a 
crown  upon  her  head  ; three  others,  said  to  represent  the  Medici 
children,  are  in  attendance  upon  her.  The  Virgin  has  in  her 
face  that  touch  of  sadness  which  Botticelli  gives  to  all  his 
Madonnas. 


44 


28. 


THE  NATIVITY. 

National  Gallery,  London. 

The  nativity  of  Christ  was  a theme  of  inexhaustible  inter- 
est to  mediaeval  painters.  Certain  conventions  were  always 
observed,  but  there  was  much  scope  for  the  exercise  of  religioas 
fancy,  and  the  various  conceptions  are  among  the  most  inter- 
esting of  scriptural  scenes.  When  treated  historically,  the  ox 
and  the  ass  are  never  omitted ; the  expression  of  pious  astonish- 
ment often  represented  on  the  faces  of  the  two  beasts  as  they 
discover  the  Child  in  the  manger  is  delightfully  naive  and 
amusing. 

Botticelli  has  given  a most  unusual  conception  of  this 
familiar  art  subject.  The  picture  was  painted  after  the  mar- 
trydom  of  Savonorola  as  a proof  of  the  artist’s  constancy  to  the 
great  teacher’s  memory,  and  of  his  belief  in  the  fulfillment  of 
his  prophecies.  In  the  center  of  a rough,  open  shed  lies  the 
Child;  Mary  kneels  in  adoration  and  Joseph,  a crouching 
figure  on  the  left,  seems  overcome  with  emotion.  On  either 
side  of  the  central  group  are  angels  telling  the  “glad  tidings;” 
in  the  foreground  angels  and  mortals  embrace,  while  in  the 
corners  grotesque  little  devils  fly  to  hide  themselves  among  the 
rocks.  On  the  top  of  the  shed,  three  angels  read  from  an  open 
book  their  song  of  praise.  In  the  sky  above  is  a wonderfully 
beautiful  and  decorative  invention — an  angelic  host  circling 
about  singing  Hosannahs  over  the  Saviour’s  birth. 

Whatever  meaning  Botticelli’s  symbolism  may  have  had 
for  himself,  it  is  not  difficult  to  give  one’s  own  interpretation 
of  it.  The  darkness  of  the  pagan  world  is  typified  in  the 
background  of  dark  gloomy  trees.  The  Child  born  in  the 
lowly  stable  will  bring  light  to  dispel  the  darkness;  he  will 
effect  a reconciliation  between  heaven  and  earth  and  at  his 
coming  all  vice  (like  the  gruesome  demons  in  the  picture), 
will  fly  to  hide  itself.  Then,  as  the  olive  branches  borne  by 
the  angelic  host  betoken,  peace,  gladness  and  goodwill  will 
return  to  all  the  earth. 

The  two  sides  of  Botticelli’s  nature  are  delightfully 
expressed,  in  this  quaint,  old  world  Christmas  Carol  in  paint. 


45 


29. 


SPRING. 

Academy,  Florence. 

Critics  have  exhausted  themselves  in  argument  over  the 
explanation  of  this  remarkable  picture,  but  its  full  significance 
has  probably  never  been  determined;  it  is  commonly  sup- 
posed, however,  to  be  an  allegory  of  the  seasons.  It  is  Botti- 
celli’s most  famous  composition  and  was  painted  for  Lorenzo 
de  Medici’s  Villa  at  Gastello. 

To  the  extreme  left  Mercury,  the  god  of  change,  with  his 
wand  dispels  the  clouds  of  winter,  beside  him  the  beautiful 
group  of' the  Three  Graces,  lightly  clad  in  transparent  raiment, 
represent  the  joy  and  freshness  of  spring  time.  ‘Tn  the 
center  stands  the  figure  of  Spring,  above  whom  a winged  blind- 
folded Love  is  discharging  his  arrows.  The  figures  to  the 
right  represent  the  three  spring  months;  to  the  extreme  right 
is  March,  cold  and  blue,  blowing  wind  from  his  mouth  and 
swaying  the  trees  as  he  passes  ^through  them,  next  to  him  as  if 
escaping  from  his  grasp  is  April  draped  in  a blue  and  white 
sky.  On  the  hem  of  her  robe  green  leaves  and  buds  are 
sprouting  and  she  seems  as  if  precipitating  herself  into  the 
arms  of  May  who,  erect  and  sedate,  fully  clad  in  a flowery  robe, 
scatters  blossoms  as  she  passes.”  This  work,  so  entirely  differ- 
ent in  feeling  from  the  early  Madonna  and  Child,  is  an  embodi- 
ment of  the  Renaissance  spirit — the  love  of  nature,  the  delight 
in  the  beauty  of  classic  forms  and  subjects. 

Here  Botticelli,  having  put  aside  all  mournful  forebodings 
and  ‘^speculative  musings,”  has  given  utterance  to  that  fullness 
of  delight  in  the  return  of  spring  which'  was  a favorite  theme 
with  the  Tuscan  poets.  Every  figure  is  instinct  with  life, 
while  the  leaves  and  blossoms  seem  literally  dancing  in  the 
breeze.  The  Three  Graces,  in  their  gauzy  fluttering  draperies, 
with  the  exquisite  rhythm  of  their  light,  graceful  movements, 
are  among  the  finest  figures  in  the  Italian  Renaissance.  No 
one  quite  equalled  Botticelli  in  giving  that  subtle  sense  of 
motion  which  was  an  integral  part  of  so  many  of  his  works. 


46 


Umbrian  School. 


Umbria,  a province  a little  to  the  south  of  Florence,  has 
been  called  the  “Galilee  of  Italy,”  because  of  a certain  sanctity 
and  religious  sentiment  which  distinguished  the  Umbrian 
School;  for  although  painting  flourished  in  the  small  towns 
and  retired  valleys,  the  older  traditions  and  religious  feeling 
survived  in  them  long  after  it  had  been  superseded  elsewhere, 
hence  the  Umbrians  held  fast  to  their  sentiment,  their  detail, 
and  their  gold  ornamentation.  Cheerful  sentiment  and  moral 
teaching  with  a deep  sense  of  spiritual  beauty,  brilliance  of 
color,  simplicity  and  devoutness  of  work  were  characteristics  of 
Umbrian  art. 

On  account  of  the  picturesque  nature  of  their  surround- 
ings, the  Umbrians  developed  a strong  feeling  for  landscape; 
this  branch  of  painting,  particularly  as  used  for  backgrounds 
to  produce  an  effect’  of  space,  became  one  of  the  distinguishing 
features  of  the  school.  Perugino  was  its  typical  master,  and 
Raphael  marks  the  culminating  point  of  Umbrian  art,  which 
after  his  time  degenerated  into  the  conventional  sentimentali- 
ties against  which  the  pre-Raphaelites  revolted. 

DA  FORLI. 

1438-1494. 

Umbrian. 

Melozzo  da  Forli,  of  whom  little  is  known,  was  architect  as 
well  as  painter.  The  few  remaining  fragments  of  his  work 
show  boldness,  originality  and  strong  decorative  qualities.  He 
is  best  known  by  his  Musical  Angels,  as  they  are  called,  which 
are  almost  as  popular  as  those  of  Fra  Angelico. 

30. 

ANGEL  WITH  YIOL. 

Sacristy  of  St.  Peter’s,  Rome. 

Melozzo’s  frescos  originally  decorated  the  old  Church  of 
the  Apostoli,  Rome,  but  the  little  that  was  left  of  them  was 
removed  to  the  Quirinal  and  to  the  Sacristy  of  St.  Peter’s. 


47 


The  angels  were  ligTires  in  a mural  painting  of  the  Ascension 
of  Christ,  which  is  unfortunately  almost  entirely  destroyed. 
They  are  original,  uncommon  conceptions,  more  human  and 
leas  sentimentally  angelic  than  the  usual  representations  of 
angels.  The  one  with  viol  is  a noble,  youthful  being  who 
seems  inspired  by  the  spirit  of  music. 

PERUGINO. 

1446-1524. 

Umbrian. 

The  Umbrian  sentiment  and  color  are  most  fully  shown  in 
Perugino.  In  him  is  found  also  a religious  feeling  somewhat 
iikin  to  that  of  the  painter  monk  of  San  Marco.  Fervor,  ten- 
derness and  devotion  characterized  his  art  which,  however,  was 
more  human  than  Fra  Angelico’s,  for  while  religion  still  held 
with  the  Umbrians,  it  was  becoming  materialized  by  the  beauty 
of  the  world  about  them.  The  slight  graceful  figure  with  the 
head  sentimentally  inclined  to  one  side  and  the  oval  face  full 
of  wistful  tenderness,  are  easily  recognized  as  the  Perugino 
type.  This  master  excelled  in  the  portrayal  of  calm,  contem- 
plative scenes  composed  of  few  figures  arranged  in  simple 
attitudes.  His  early  work  is  by  far  his  best.  Imbued  with  a 
love  of  gain,  he  fell  into  the  habit  of  repeating  himself,  until 
some  of  his  later  pictures  are  painfully  mechanical.  Perugino 
greatly  influenced  Raphael’s  early  work,  was  the  chief  expon- 
ent of  the  Umbrian  School  and  the  last  representative  of  the 
old  superetitious  art. 

31. 

VIRGIN  ADORING  THE  INFANT  CHRIST. 

National  Gallery,  London. 

The  Adoring  Virgin  is  the  central  panel  fromUhe  triptych 
of  the  Pavia  altarpiece.  ITiis  Virgin  with  her  three  attendant 
angels  represented' against  a background  of  beautiful  Umbrian 
scenery  is  very  typiail  of  Perugino.  The  impression  of  spirit- 
ual isolation  which  the  picture  produces  is  largely  due  to  the 
effect  of  receding  distance  and  the  luminous  infinitude  of  sky. 


48 


The  quiet  hills,  the  formal  trees  which  repeat  each  other  one 
on  either  side,  the  lovely  placid  river  as  well  as  the  attitude  and 
expression  of  the  Virgin,  all  tend  to  convey  a sense  of  peace  and 
spiritual  repose. 

The  sense  of  calm  which  pervades  the  picture  is  felt  in 
many  of  Perugino’s  best  works  although  he  has  seldom  risen 
to  the  spirituality  of  this  one.  He  was  very  successful  in  giv- 
ing a sense  of  spaciousness  to  his  compositions  and  in  inter- 
preting' the  sentiment  he  wished  to  express  by  the  setting. 
This  simple  Virgin,  so  full  of  sweetness  and  humility  would 
seem  sadly  out  of  place  seated  upon  the  magnificent  throne 
occupied  by  Bellini’s  stately  Madonna.  The  treatment  of  the 
two  pictures  form;  an  interesting  comparison,  since  each  artist 
has  so  successfully  adapted  his  surroundings  and  accessories 
to  the  types  and  sentiments  he  wished  to  portray. 

32. 

VIRGIN  AND  CHILD. 

Louvre,  Paris. 

Perugia,  although  full  of  treachery,  intrigue  and  evil  liv- 
ing, was  yet,  one  of  the  most  pious  cities  in  all  Italy,  for  large 
numbers  of  men  and  women  sought  refuge  from  the  turmoil 
about  them  in  a life  of  spiritual  solitude  and  devotion.  Peru- 
gino’s Virgins  and  angels  are  personifications  of  these  devout 
“self  consecrated”  beings  which  he  saw  around  him.  This 
doubtless  is  one  reason  why  his  Madonnas  seem  made  from  the 
same  model.  They  all  have  the  same  inclination  of  the  head, 
the  same  unconsciousness  of  surroundings,  the  same  absorption 
in  inward  spiritual  ecstacy.  This  circular  painting  represents 
the  Virgin  and  Child  enthroned  between  St.  Rosa  on  the  left 
and  St.  Catherine  on  the  right.  The  graceful  figures  with  their 
drooping  heads  and  purity  of  expression  are  characteristic  of 
the  artist  so,  also,  is  the  glimpse  of  Umbrian  landscape  in  the 
background. 


49 


FRANCIA. 

1450-1517. 

Bolognese. 

The  school  of  Bologna  so  prominent  in  later  Italian  art, 
reached  the  culmination  of  its  early  period  in  its  founder, 
Francesco  Francia.  This  painter  had  little  in  common  with 
the  great  Renaissance  movement  which  was  surging  forward 
on  every  side,  but  like  Fra  Angelico,  derived  his  inspiration 
entirely  from  religious  subjects.  His  work  shows  Perugino’s 
influence  and  It)  sentiment  is  more  Umbrian  than  Bolognese. 
(The  Bolognese,  followed  Paduan  methods.)  While  he  added 
little  that  was  new,  he  combined  the  technical  perfection  of  the 
fifteenth  century  with  the  Christian  motives  which  influenced 
the  earlier  artists. 

33. 

PIETA. 

National  Gallery,  London. 

The  Pieta — the  dead  Christ  in  the  arms  of  his  mother — 
is  one  of  the  events  of  the  Passion  Cycle  and  as  the  name  indi- 
cates, represents  the  Virgin  and  angels  weeping  over  the  dead 
body  of  Christ.  Francia  has  filled  the  picture  with  a solemn 
touching  aspect  of  sorrow  which  befits  the  subject.  The  Christ 
rests  in  the  sleep  of  death  on  his  mother’s  knees,  but  instead  of 
the  usual  saints  the  Virgin  has  for  attendants  two  bright  haired 
angels,  one  of  whom  reverently  supports  the  head,  while  the 
other  folds  his  hands  in  silent  worship  at  the  Saviour’s  feet. 
It  is  a most  pathetic  picture,  beautiful  in  color,  exquisite  in 
finish  and  filled  with  a spirit  of  grief. 

DA  VINCI. 

. 1452-1519. 

Florentine. 

The  high  tide  of  the  Renaissance  in  Italy  was  reached 
with  three  great  names,  Leonardo  da  Vinci,  Michael  Angelo 
and  Raphael.  Leonardo,  the  first  of  the  trio,  was  a man  of 


50 


universal  genius  and  remarkable  versatility  who  stood  far  in 
advance  of  his  time.  The  closing  j^ears  of  the  fifteenth  cen- 
tury and  the  first  half  of  the  sixteenth  witnessed  the  full 
development  of  painting;  a climax  hastened  perhaps,  by  the 
added  impetus  given  to  art  by  the  advance  of  sixteenth  cen- 
tury artists  in  the  knowledge  and  use  of  chiaroscuro. 

Leonardo  was  the  great  innovator  in  this  matter  of  light 
and  shade.  Heretofore,  color  had  been  used  pure,  and  light 
with  only  enough  shading  introduced  to  give  relief  to  figures. 
Leonardo  realized  the  value  of  shadow  not  only  to  secure  per- 
fect modeling,  but  to  produce  emotional,  poetical  and  illusive 
effects.  He  succeeded  in  giving  to  his  figures  a roundness  and 
relief  heretofore  unknown,  besides  imparting  to  his  compo- 
sitions a certain  elusiveness  which  is  their  chief  attraction  and 
his  distinguishing  characteristic.  A scientific  investigator  con- 
cerned always  with  the  mysteries  of  nature  of  human  life  and 
the  human  spirit,  the  few  remaining  works  by  his  hand  are 
quite  as  interesting  psychologically  as  pictorially. 

Leonardo  made  many  changes  in  the  technique  of  paint- 
ing, exerted  an  extraordinary  influence  over  his  contempor 
aides  and  left  traces  of  his  passage  in  numerous  departments  of 
art.  Architect,  engineer,  sculptor,  musician,  painter — these 
are  but  few  of  the  titles  earned  by  this  magician  of  the 
fifteenth  century. 

34^ 

VIRGIN  OF  THE  ROCKS. 

Louvre,  Paris. 

The  Virgin  of  the  Rocks  is  a type  which  belongs  to  Leo- 
nardo alone  and  suggests  no  other  master.  Everything  in  it 
is  significant  and  new;  the  motive,  the  treatment  of  form,  the 
pyramidal  grouping  and  the  new  pictorial  value  given  to  light 
and  shadow. 

The  picture  takes  its  name  from  the  peculiar  setting  of 
wierd  looking  rocks — -an  arrangement  the  artist  has  used  to 
entice  the  imagination  and  assist  in  carrying  out  the  spiritual 
significance  with  which  he  was  always  concerned.  One  finds 


51 


in  the  work  much  of  that  feeling  of  the  mystei^  that  lies  behind 
appearances;  a feature  characteristic  of  Leonardo.  The  smile 
of  the  Virgin  has  a suggestion  of  the  evasiveness  seen  in  the 
face  of  the  Mona  Lisa.  The  face  of  the  angel  is  particularly 
lovely  and  the  children’s  forms  are  finely  modeled. 

The  picture  has  greatly  darkened  with  the  y cal's,  yet  in 
the  drawing  and  foreshortening  of  these  little  figures  one  can 
still  see  something  of  the  technical  skill  of  the  artist  while  the 
management  of  light  and  shade  shows  his  masterj^  of  chiaro- 
scuro. The  great  master’s  treatment  of  this  feature  was  a 
revelation  to  his  countrjmien.  AVith  Leonardo  was  revealed  a 
new  power  in  art — the  embodiment  of  abstract  qualities.  His 
greatest  charm  lies  in  the  subtle  hidden  meanings  which  seem 
to  abide  in  his  works. 

35. 

MONA  LISA. 

Louvre,  Paris. 

This  portrait  of  the  wife  of  Francesco  del  Giocondo,  per- 
haps the  most  famous  portrait  in  the  world,  has  probably  been 
the  cause  of  as  much  speculation  and  comment  as  any  picture 
ever  painted.  Whatever  it  may  have  lost  of  its  once  exquisite 
freshness  and  color,  its  spell  is  as  potent,  as  compelling  today 
as  it  has  ever  been  during  the  four  centuries  since  it  left  Leo- 
nardo’s hand. 

Only  the  upper  part  of  the  figure  is  visible,  the  costume  is 
simple  in  the  extreme,  a far-reaching  landscape  forms  the 
background.  With  no  remarkable  beauty  of  feature,  color  or 
composition  its  subtle  fascination  lies  in  the  expression  of  the 
eyes  and  in  the  baffling,  strangely  haunting  smile.  Just 
what  idea  Leonardo  was  endeavoring  to  embody  will  doubtless 
always  remain  a matter  of  conjecture,  but  it  was  evidently 
something  beside  the  painting  of  an  individual  portrait.  A 
suggestion  of  the  same  expression  is  traceable  in  several  of  his 
pictures,  particularly  in  his  Madonnas.  Some  abstract  idea 
for  which  the  smile  stands  seems  to  have  haunted  him.  This 
inscrutable  creature  has  sounded  the  depths  of  all  knowledge, 


52 


has  tasted  all  experience,  yet,  from  her  seeming  familiaiity 
with  every  thought  one  brings  to  her  she  might  have  been 
painted  yesterday.  With  every  passing  glance  the  expression 
varies;  to  every  mood  or  attitude  of  mind  it  responds.  The 
smile  is  appealing  or  repelling,  lovable,  disdainful  or  cynical 
but  always  secure  in  the  possession  of  its  secret. 

One  wonders  if  Leonardo  endeavored  to  embody  in  the 
face  of  the  Mona  Lisa  the  spirit  of  the  insolvable,  impenetrable 
mystery  which  shrouds  every  individual  pei’sonality. 

36. 

THE  LAST  SUPPER. 

Santa  Maria  della  Grace,  Milan. 

The  Last  Supper,  painted  near  the  close  of  the  fiftenth 
century,  is  now  but  the  pale  ghost  of  its  former  glory,  Leon- 
ardo’s propensity  for  experiment  having  in  this  case  resulted 
disastrously.  The  vicissitudes  of  time  have  also  greatly  dam- 
aged the  work ; the  present  copy  is  from  a drawing  made  from 
the  decayed  original.  It  is  the  first  masterpiece  of  the  third 
period — the  glorious  period  of  the  High  Renaissance  in  Italy. 
The  fresco  is  twenty-eight  feet  long,  the  figures  more  than 
life-size  and  the  work  was  two  years  in  painting. 

Leonardo  has  seized  that  moment  of  far-reaching  signi- 
ficance when  the  company  is  thrown  into  consternation  by  the 
words — “One  of  you  shall  betray  me.”  The  figures  are  grouped 
in  threes;  on  the  right  are  James,  Thomas  and  Phillip,  Mat- 
thew, Thaddeus,  and  Simon;  on  the  left,  John,  Peter  and 
Judas,  then  Andrew,  James  the  less,  and  Bartholomew.  Jesus 
is  the  central  figure.  Llis  exclamation  has  thrown  the  disciples 
into  confusion.  Some  are  stunned  by  the  enormity  of  the 
charge,  others  are  vociferous,  indulging  in  violent  gestures  of 
indignation  or  denial;  each  betrays  his  appropriate  tempera- 
ment in  corresponding  attitude  and  action  with  a wonderfully 
varied  rendering  of  individual  character.  The  Christ  alone 
remains  calm  and  silent. 

The  arrangement  is  so  simple  it  would  seem  as  if  the  story 
could  have  been  told  in  no  other  way,  yet,  in  this  very  simpli- 
city, Leonardo  has  achieved  the  triumph  of  the  highest  art. 


53 


PINTORICCHIO. 

1454-1513. 

Umbrian. 

Pintoricchio,  another  artist  of  the  Umbrian  School,  was  an 
assistant  but  a strange  contrast  to  Perugino.  Caring  little  for 
the  simple,  reverent  scenes  of  the  former  master,  he  revelled  in 
motley  crowds,  splendid  costumes  and  sumptuous  settings. 
Though  not  a great  artist,  he  was  an  interesting  one  owing  to 
his  realism  which  led  him  to  introduce  into  the  various  sub- 
jects that  he  painted,  innumerable  details  illustrative  of  the 
manners  and  customs  of  his  day.  He  showed  little  deep  feel- 
ing, little  attempt  to  attain  a lofty  ideal,  but  his  invention 
seemed  endless.  He  delighted  in  the  most  minute  execution, 
in  the  brilliant  use  of  color  and  lavish  use  of  ornament.  He 
is  most  noted  for  his  frescos,  particularly  those  in  the  Borgia 
apartments  in  the  Vatican. 

37. 

PORTRAIT  OF  A BOY. 

Royal  Gallery,  Dresden. 

One  of  Pintoricchio’s  most  interesting  small  pictures  is 
the  Portrait  of  a Boy — a work  of  his  early  period.  The  figure 
is  slight,  but  not  graceful,  the  modeling  noticeably  wooden; 
evidence  that  Pintoricchio  had  not  entirely  freed  himself  from 
Byzantine  stiffness  of  form.  In  the  background,  particularly 
in  the  trees,  Perugino’s  influence  is  unmistakable.  This  is  evi- 
dently a sober,  unsentimental  youth,  with  a marked  individ- 
uality. The  artist  has  cleverly  suited  the  style  of  dress  and 
arrangement  of  the  hair  to  a certain  prim  quality  apparent  in 
the  little  fellow. 

38. 

ST.  CATHERINE  OF  ALEXANDRIA  BEFORE  HER 
JUDGES. 

Borgia  Apartments,  Vatican,  Rome. 

In  the  Hall  of  Saints  in  the  Borgia  apartments  of  the 
Vatican  is  to  be  found  this  fresco,  one  of  the  most  splendid  by 


54 


Pintoricchio’s  hand.  “In  the  sunny  landscape,  divided  in 
the  center  by  a triumphal  arch,  a vast  concourse  of  people 
is  gathered;  philosophers,  courtiers,  Turks  and  Eastern  poten- 
tates with  pages  and  soldiers  and  richly  caparisoned  horses — 
the  reds,  blues,  and  greens  of  their  apparel  heavy  with  gold 
embroidery  and  gleaming  jewels,  mingling  in  a gorgeous  yet 
subdued  glow  of  color.  To  the  left,  seated  on  a marble  throne, 
is  the  Emperor  Maximinus,  in  a robe  that  glitters  with  gold 
ornaments,  listening  to  the  discourse  of  the  youthful  St.  Cath- 
erine of  Alexandria,  who,  clad  in  a blue  gown  embroidered  in 
gold  with  a long  red  over-mantle,  earnestly  expounds  the  doc- 
trines of  her  faith.” 

In  this  fresco  Pintoricchio  is  seen  at  his  best,  for  he  was 
above  all  a decorator;  before  everything  else  he  loved  gold  and 
used  it  here  with  magnificent  effect.  Concerned  particularly 
with  the  general  impression  produced,  he  achieved  in  his  fres- 
cos a splendor  of  color,  a sumptuous  richness  and  brilliancy 
which  must  have  been  dazzling  in  their  pristine  freshness. 

FRA  BARTOLOMMEO. 

1475-1517. 

Florentine. 

The  same  Dominican  convent  which  once  numbered  Fra 
Angelico  among  its  brothers,  gave  the  world  another  painter 
who  was  reckoned  among  the  foremost  masters  of  the  six- 
teenth century.  Fra  Bartolommeo  forms  the  connecting  link 
between  the  artists  of  the  early  Renaissance  and  the  Golden 
Age;  his  contributions  to  the  art  of  Italy  were  in  the  depart- 
ments of  composition  and  color.  He  carried  to  a great  degree 
of  perfection  the  scientific  scheme  of  grouping,  built  upon  geo- 
metrical principles,  attempted  by  Leonardo.  Pyramids,  tri- 
angles and  other  simple  figures  formed  the  basis  of  his  system. 
A sincere,  religious  painter,  he  gave  utterance  to  his  reverent 
thoughts  in  the  more  perfect  art  language  of  his  age,  greatly 
developed  the  principles  of  Leonardo  and  prepared  the  way  for 
Raphael,  whose  early  work  he  influenced  to  some  extent.  His 
color,  once  fine  for  Florence,  is  now  much  injured  by  the  use 
of  black  pigments  in  the  shadows.  This  practice,  which  was 


55 


followed  by  a number  of  the  old  masters,  has  caused  the 
ruin  of  many  fine  compositions. 

39. 

MADONNA,  CHILD,  ELIZABETH  AND  ST.  JOHN. 

Collection  of  Sir  Frederic  Cook,  England. 

The  year  before  Fra  Bartolommeo  died,  he  painted  this 
Madonna  which  is  in  the  pyramidal  form  of  composition  so 
much  a favorite  with  him  as  well  as  with  later  artists.  The 
Virgin,  the  little  Christ,  Elizabeth  and  St.  John  are  repre- 
sented under  the  spreading  branches  of  a palm  tree,  behind 
them  a beautifully  painted  landscape  stretches  away  into 
the  distance.  The  work  is  of  the  pastoral  type,  afterwards  per- 
fected by  Raphael.  It  is  an  oft  repeated  subject,  but  the  artist 
has  given  an  exquisite  representation  of  it  both  in  the  sym- 
metrical grouping  and  in  the  wonderfully  sweet  expressions 
of  the  faces  of  the  Virgin  and  Elizabeth.  The  attitudes  of 
the  children  are  particularly  appealing  and  affectionate. 

40. 

DEPOSITION. 

Pitti  Palace,  Florence. 

The  moment’s  pause  at  the  very  foot  of  the  cross  when 
the  body  is  laid  upon  the  ground  is,  properly  speaking,  the 
Deposition,  though  the  representation  is  similar  to  that  of  the 
Pieta.  Fra  Bartolommeo  has  given  an  effective  representation  of 
this  frequently  painted  subject.  The  lifeless  form  of  the  dead 
Christ  is  rendered  with  wonderful  flexibility;  the  body  is  sus- 
tained by  St.  John,  the  fine  figure  of  the  Magdalen  embraces 
the  feet,  the  Virgin  tenderly  supports  the  head.  The  back- 
ground is  a somber,  gloomy  landscape  in  keeping  with  the 
subject  and  the  hour  when  the  scene  is  depicted.  It  is  inter- 
esting to  compare  the  three  famous  treatments  of  this  subject 
which  hang  in  the  collection. 


56 


LUINI. 

1475-1533. 

Lombard. 

Lombardy  is  one  of  the  loveliest  districts  of  North  Italy. 
Her  painters  were  natives  of  small  villages  and  the  character 
of  their  art  reflects  that  of  their  surroundings.  Luini  is  the 
chief  of  his  school,  and,  according  to  Ruskin,  stands  alone  in 
uniting  exceptional  art  power  with  untainted  simplicity  of 
religion.  A faithful  follower  of  Leonardo  da  Vinci,  he  so 
closely  adapted  his  style  to  that  of  the  greater  master,  that 
many  of  their  works  have,  until  recently,  been  commonly  con- 
founded. Later  he.  developed  his  own  manner  and  while  he 
is  less  prof ound^^^ lacks  the  strength  and  boldness  of  Leonardo, 
in  sympathetic  charm,  a certain  primitive  simplicity,  grace, 
and  purity,  he  fills  his  own  place. 

41. 

MADONNA  OF  THE  ROSE  HEDGE. 

Brera  Gallery,  Milan. 

In  this  lovely  Madonna,  the  Child,  with  its  expressive  far- 
seeing  eyes,  recalls  Raphael,  but  the  Virgin’s  face  suggests 
Leonardo’s  influence.  There  is  just  a hint  of  the  subtlety  of 
expression  seen  in  the  face  of  the  Virgin  of  the  Rocks. 

She  is  seated  in  front  of  a trellis  covered  with  white  roses, 
the  little  Christ  with  a most  natural  movement  is  turning  to 
pick  the  columbine  in  the  flower  pot  at  his  side.  In  sentiment 
and  feeling,  the  work  is  entirely  characteristic  of  Luini  whose 
pictures  take  high  rank,  not  only  because  of  their  excellent 
composition  and  technique,  but  because  of  their  grace,  purity 
and  spiritual  expression. 


SODOMA. 

1477?-1549. 

Siennese. 

Early  Siennese  painting  is  characterized  by  calmness  and 
devotion.  The  glory  of  the  school  was  not  permanent,  but  it 


57 


heralded  the  sunrise.  In  the  churches  and  academy  of  old 
Sienna,  one  may  study  the  dawn  of  national  art.  Sodoma 
was  a gifted  pupil  of  Leonardo  who  belonged  to  the  great 
movement  of  progress  which  characterized  the  last  of  the  fif- 
teenth century.  He  was  the  last  great  representative  of  the 
Siennese  School  and  was  an  eminent,  but  not  a great  artist, 
who  is  seen  at  his  best  in  his  single  figures.  In  some  of  these 
Sodoma  reached  a high  degree  of  perfection. 

42. 

ST.  SEBASTIAN. 

Uffizi  Gallery,  Florence. 

St.  Sebastian,  Sodoma^s  masterpiece,  was  originally  in- 
tended to  be  used  as  a standard  or  banner  to  be  carried  through 
the  streets  in  times  of  pestilence,  St.  Sebastian  being  the  patron 
saint  against  plague.  In  the  legends,  Sebastian  is  a Roman 
soldier  whom  neither  threats  nor  persuasions  can  induce  to 
abandon  the  Christian  faith.  The  expression  of  the  face  is 
refined  and  spiritual  in  its  obliviousness  of  the  piercing  arrows, 
the  manifestation  of  suffering,  just  enough  to  mark  the  mar- 
tyred saint,  but  not  enough  to  mar  the  splendid  beauty  of  the 
figure.  This  picture  is  typical  of  the  Renaissance  at  this  period, 
combining  as  it  does,  the  physical  beauty  of  a Greek  marble 
with  a Christian  spirit  of  martyrdom.  The  classical  spirit  is 
still  further  enhanced  by  the  lovely  landscape  setting. 


58 


German  Painting. 


While  the  Renaissance,  with  Leonardo,  Michael  Angelo 
and  Raphael  was  reaching  its  zenith  in  Italy,  in  Germany,  it 
was  about  to  dawn.  The  awakening  in  the  North  was  later  and 
much  more  gradual ; indeed  German  art  gave  evidence  of  little 
strength  and  individuality  until  the  sixteenth  century.  It 
showed  the  predominance  of  the  religious  subject,  reflected 
the  serious  nature  of  the  German  folk,  and  as  a whole  was 
more  devoted  to  the  representation  of  character  than  of  beauty. 
Thus  early  German  art  is  in  harmony  with  the  stricter  view 
of  religion  and  theology  which  produced  the  Reformation. 

Passing  from  the  work  of  the  Italian  to  that  of  the  Ger- 
man painters,  one  is  at  once  impressed  with  the  great  contrast 
between  the  art  of  these  two  peoples.  The  Italian  race,  under 
sunny  skies,  had  developed  an  instinctive  love  of  the  beauti- 
ful, which  revealed  itself  in  classic  forms,  grace,  light  and  color. 
The  Germans,  in  a sterner  climate,  retained  the  energy  that 
carved  its  way  through  their  native  forests,  with  not  a little  of 
the  gloomy  romance  that  haunted  their  dark  shadows.  The 
qualities  of  diligence,  precision  and  a certain  mysterious  gloom 
are,  therefore,  reflected  in  their  works.  Their  homely  realism 
is,  at  first,  less  pleasing  than  the  more  ideal  conceptions  of 
the  Italians,  yet  in  time  one  comes  to  admire  their  absolute 
sincerity,  their  simple  directness  of  representation.  Their 
work,  moreover,  is  historically  valuable,  the  quality  and  char- 
acter of  the  people  coming  to  us  truthfully  through  their  art. 

The  school  is  characterized  by  a stern  ruggedness,  a love 
of  minute  detail  and  a sort  of  dramatic  earnestness,  the  nature 
of  the  revival  here  being  more  moral  and  intellectual  than 
artistic.  Later,  Germany  came  under  Italian  influence.  It 
was  not  successfully  assimilated,  however,  until  the  time  of 
Rubens. 


59 


DURER. 

1471-1528. 

German. 

The  man  who  stands  first  in  the  German  art  of  the 
Renaissance,  who  best  typifies  the  art  of  his  countiy,  and  who 
was  to  place  the  German  School  in  the  front  rank  of  art  centers, 
was  Albrecht  Diirer.  It  is  to  Nuremberg  one  must  go  to  know 
this  most  peculiar  and  original  genius.  His  personality  seems 
to  penetrate  every  nook  and  cranny  of  the  quaint  old  mediaeval 
town.  He  was  remarkable  for  the  vigor  and  strength  of  his 
imagination,  but  had  withal  a strange,  fantastic  method  and 
spirit  particularly  characteristic  of  himself.  Many  of  his 
works  are  singular,  almost  grotesque,  and  far  from  beautiful. 
His  fame  is  in  a large  measure  due  to  his  engravings.  In  this 
art  he  stands  alone  on  the  heights,  with  scarcely  an  equal  in 
the  four  centuries  since  his  day.  His  drawing  shows  a ten- 
dency to  stiff,  sharp  lines;  evidence  that  his  scrupulous  exact- 
ness which  found  its  best  expression  in  his  engravings,  crept 
into  his  paintings  and  interfered  somewhat  with  a free  teoh- 
nical  treatment. 

Although  he  assimilated  something  of  the  art  of  both 
Flanders  and  Italy,  he  remained  staunchly  a German  in  race, 
method  and  inspiration.  His  influence  over  his  countrymen 
was  enormous  and  his  style  was  followed  through  the  sixteenth 
century. 

43. 

MADONNA  OF  THE  FINCH. 

Emperor  Frederick  Museum,  Berlin. 

How  decidedly  Diirer’s  national  characteristics  are  shown 
in  ’ this  very  typical  Madonna.  It  was  painted  during  the 
artist’s  sojourn  in  Venice  and  shows  something  of  Italian  influ- 
ence, yet,  for  the  greater  part,  it  is  German  both  in  concep- 
tion and  spirit. 

The  Virgin  is  a true  German  mother  while  the  back- 
ground and  foreground  which  are  crowded  with  minute  details, 
bespeak  the  hand  of  a northern  country  artist.  It  is  one  of 


60 


the  most  charming  of  Diirer's  pictures  and  is  still  quite  fresh 
in  color.  The  golden  haired  Madonna,  the  two  cherubs  with 
rainbow  hued  wings,  holding  the  elaborate  crown  of  flowers, 
bear  a resemblance  to  the  artist’s  great  picture  of  the  “Feast  of 
the  Rose  Garlands,”  painted  about  the  same  time.  The  land- 
scape background  shows  a picturesque  bit  of  old  world  quaint- 
ness. The  Virgin  holds  the  Child,  who  is  seated  upon  a cush- 
ion of  red  velvet ; in  his  right  hand  he  holds  what  is  known  in 
Germany  as  a “Lutsche^' — a little  linen  bag  filled  with  sugar,” 
on  his  left  arm  is  perched  a bird,  probably  a finch.  St.  John 
presents  the  Madonna  with  a bunch  of  lilies-of-the-valley,  while 
the  angel  at  the  left  holds  the  reed  cross  emblematic  of  the 
saint.  The  picture  lacks  in  spirituality,  perhaps,  but  is  happy 
and  tender  in  style. 

The  figures  of  the  little  Christ  and  the  angels  are  particu- 
larly graceful,  showing  southern  influence  and  comparing  fav- 
orably with  some  of  the  Italian  creations. 

44. 

PORTRAIT  OF  THE  ARTIST. 

Alte  Pinakothek,  Munich. 

Diirer,  like  Rembrandt,  took  delight  in  painting  his  own 
likeness. 

This  portrait,  which  contains  a reminder  of  the  head  of 
Christ,  is  probably  the  best  known  and  was  painted  at  the 
age  of  thirty-three.  The  face  is  unusual.  It  reveals  direct- 
ness, thoughtfulness,  dignity  and  perhaps  a consciousness  of 
personal  worth.  Here,  as  everywhere,  Diirer  has  worked  out 
the  smallest  details  with  patient,  microscopic  accuracy.  The 
hair  is  beautifully  painted ; it  is  touched  with  the  utmost  min- 
uteness, yet  the  silky,  flowing  texture  is  not  lost.  The  coat 
or  robe  has  received  equal  care;  the  dashes  of  light  and  the 
delicate  brush  work  on  the  fur  of  the  collar  are  so  cleverly 
managed  as  to  make  the  identity  of  the  material  unmistakable. 

Diirer,  always  minute  in  the  features  of  hair,  cloth  and 
flesh,  shows  here  that  studied  care  of  outward  appearances  so 
typical  of  German  art — an  art  more  attractive  for  the  charmi 


61 


and  beauty  of  its  detail,  than  for  the  general  impression  pro- 
duced. 

HOLBEIN. 

1497-1543. 

German. 

Just  at  the  close  of  the  fifteenth  century  arose  the  second 
greatest  German  genius  of  the  period,  Hans  Holbein  the 
younger,  an  artist  widely  different  from  Diirer  in  work,  tem- 
perament and  point  of  view. 

Diirer  was  an  idealist  and  a religious  painter.  Holbein 
was  emphatically  a realist.  He  delighted  to  represent  the  pro- 
saic, the  matter  of  fact,  and  found  his  material  in  the  actual 
life  about  him.  He  had  more  of  a feeling  for  grace  and  beauty, 
but  less  of  the  romantic  spirit  than  his  contemporary.  He  is 
particularly  famous  as  a portrait  painter,  acquiring  a reputa- 
tion for  wonderfully  accurate  vivid  likenesses.  While  his  por- 
traits show  little  imagination,  yet  his  realism  is  so  correct,  his 
expression  so  natural,  his  heads  so  forcibly  finished  that  he 
ranks  in  this  branch  of  painting  with  the  most  renowned  of 
any  age  or  country.  He  painted  religious  themes,  but  with 
little  real  spiritual  significance. 

Holbein’s  later  years  were  spent  in  the  English  court,  in 
the  service  of  Henry  VHI. 

45. 

GEORGE  GYZE. 

Berlin  Gallery. 

It  was  during  Holbein’s  sojourn  in  England  that  he 
painted  one  of  the  finest  bits  of  portraiture  in  existence — the 
likeness  of  a young  German  merchant  of  the  Steelyard — one 
‘‘Gyze,  resident  in  London.”  The  picture  is  full  of  color,  con- 
tains a wealth  of  accessories  and  is  painted  with  that  perfection 
found  only  in  German  and  Flemish  pictures. 

The  subject,  evidently  in  his  counting  house,  is  sur- 
rounded by  the  various  objects  which  belong  to  his  occupation; 
his  ink,  papers,  ball  of  string,  scales — all  at  hand  ready  for 


62 


immediate  use;  beside,  just  for  a touch  of  beauty,  is  a vase 
holding  a carnation  or  two.  Eaeh  one  of  these  numerous  items  is 
an  interesting  study  in  itself.  Holbein  must  sometimes  have 
stepped  back  from  his  easel  to  get  the  effect  of  his  work  as  a 
whole,  for  the  details  do  not  in  the  least  detract  from  the 
importance  of  the  figure ; on  the  contrary,  they  rather  assist  in 
giving  a feeling  of  intimacy  with  the  merchant  and  his  .sur- 
roundings. 

The  picture — as  an  artist  would  put  it — is  a real  triumph 
of  well  controlled  elaboration.  The  eye  is  carried  over  every 
inch  of  the  canvas,  yet  is  always  brought  back  to  the  center 
of  interest — the  refined,  masterly  head  of  the  man  himself. 
The  portrait  forms  a marked  contrast  to  the  Man  with  the 
Glove  by  Titian ; a work  entirely  opposite,  both  in  its  concep- 
tion and  treatment. 

46. 

MADONNA  OF  THE  BURGOMASTER  MEYER. 

Grand  Ducal  Palace,  Darmstadt. 

The  one  religious  picture  which  has  placed  Holbein  beside 
the  great  Italian  painters  of  the  Church,  is  this  altarpiece 
painted  for  Burgomaster  Meyer  of  Basle.  At  this  period  art 
in  Germany  was  stimulated  by  wealth  rather  than  by  devotion ; 
rich  churches  and  burghers  often  gave  large  commissions  for 
the  adornment  of  their  altars  and  council  rooms,  many  wealthy 
families  having  their  own  Madonna  in  memory  of  some  deliv- 
erance, or  to  ward  off  misfortune.  This  famous  picture  was 
ordered  as  a votive  offering  to  the  Virgin  for  the  recovery 
of  the  Meyer  baby  from  a dangerous  illness. 

According  to  one  of  the  many  interpretations,  the  Virgin 
appears  to  the  family  with  her  own  Child  in  her  arms  which 
she  puts  down,  taking  up  the  Burgomaster’s  baby  instead. 
The  somewhat  formal  arrangement  of  the  group  expresses  at 
once  the  Virgin’s  dominance  and  her  benign  protection;  her 
standing  attitude  brings  her  head  and  shoulders  above  the 
kneeling  figures  about  her  and  the  rounding  arch  of  the  odd 
little  alcove  where  she  stands  has  the  effect  of  adding  a good 


63 


deal  of  stateliness  and  dignity  to  her  really  mild,  gentle  figure. 
The  kneeling  woman  nearest  the  Virgin  is  supposed  to  be  the 
deceased  first  wife  of  Meinherr  Meyer,  arrayed  in  her  burial 
clothes.  Besides  her  kneels  the  second  wife,  an  anxious  look- 
ing dame  in  a fashionable  collar  and  head  dress.  In  the  fore- 
ground, slender  and  demure  with  her  own  best  head  dress 
over  her  closely  braided  hair,  kneels  the  daughter  of  the  iiouse. 
The  young  son  and  the  debatable  baby  are  grouped  with  the 
Burgomaster  on  the  opposite  side. 

Holbein  has  quite  successfully  avoided  monotony  in  the 
poses;  no  two  faces  are  looking  in  the  same  direction,  no  two 
have  the  same  expression,  but  each  has  an  interesting  individ- 
uality. The  figures,  if  not  so  idealistic  as  those  of  Italian 
Madonnas,  are  quite  as  sincerely  devout.  This  masterpiece 
of  German  art  is  full  of  simplicity,  dignity  and  serious  impress- 
iveness. 

MICHAEL  ANGELO. 

1475-1564. 

Florentine. 

To  find  further  developments  in  art,  one  turns  again  to 
Florence,  this  time  to  consider  Michael  Angelo,  perhaps  the 
greatest  master  of  the  Renaissance.  In  the  early  part  of  the 
fifteenth  century,  Italy,  now  in  a state  of  great  agitation  and 
disorder,  was  already  upon  the  road  to  her  downfall.  The 
Titanic  figure  of  Michael  Angelo  stands  as  the  embodiment  in 
art  of  the  contention  and  tumult  of  this  period. 

Endowed  with  a somewhat  peculiar  temperament  he  had 
little  in  common  with  the  tastes  of  his  fellow  painters.  Beauty 
of  nature,  tenderness  of  sentiment,  even  loveliness  of  feature, 
made  little  appeal  to  him.  His  supreme  interest  was  in  the 
human  form ; this  sufficed  to  convey  all  his  messages  and  was 
the  vehicle  through  which  he  expressed  every  variety  of  feel- 
ing. It  is  not  only  in  the  faces  of  Michael  Angelo’s  figures 
that  one  looks  to  find  what  the  master  has  to  reveal,  but  in  the 
torso,  the  limbs  and  the  straining,  quivering  muscles.  A sculp- 
tor even  when  he  wielded  his  brush,  he  replaced  lines  of  grace 
by  lines  of  power,  sentiment  and  tenderness  by  colossal  strength 


64 


and  profound  impressiveness.  In  faet,  he  took  up  liLs  brush 
under  protest  and  was  not  so  much  a pictorial  painter  as  a 
creator  of  forms  and  ideas;  in  color,  light,  air  and  perspective 
he  was  behind  his  contemporaries. 

His  art  was  a revelation  of  the  strength  of  his  own  nature. 
His  work  leaves  the  impression  that  the  innate  force  of  the 
man  and  the  scope  of  his  wonderful  imagination  was  even 
greater  than  his  power  to  express  it.  Though  called  the  glorj^ 
of  all  art  of  all  time,  he  stood  an  isolated  solitary  figure,  a law 
unto  himself.  He  had  no  followers  Avorthy  of  the  name. 

47. 

CREATION  OF  ADAM. 

Sistine  Chapel,  Vatican,  Rome. 

On  the  Sistine’s  vault  is  probably  the  grandest  piece  of 
decoration  in  the  world.  These  frescos — a series  of  scenes 
representing  the  history  of  the  world  from  the  day  of  creation 
until  after  the  flood — are  Michael  Angelo’s  greatest  achieve- 
ments as  a painter. 

Before  these  works  of  the  great  master  can  be  appreciated, 
it  is  necessary  to  enlarge  one’s  conception  of  beauty  beyond  the 
idea  of  mere  loveliness  of  color,  sentiment,  or  classic  physical 
perfection  and  to  include  the  essential  abstract  qualities  of 
beauty  belonging  to  energy,  character  and  significance.  Such 
a conception  is  the  Creation  of  Adam,  although  here  Michael 
dAngelo  has  approached  nearer  to  physical  beauty  than  in  many 
instances.  Never  before  nor  since  has  the  old  Hebrew  story 
found  such  an  interpreter.  It  is  a majestic  impressive  repre- 
sentation, universal  in  its  scope  and  sublime  in  its  inspiration. 
The  Almighty  hovers  above,  with  a choir  of  angels  enclosed 
in  the  swelling  folds  of  His  mantle;  from  under  His  arm 
looks  out  the  startled,  wondering  face  of  Eve.  As  He  touches 
the  drooping  fingers  of  the  outstretched  hand  of  Adam,  the 
divine  spark  rouses  into  life  the  being  He  has  made  to  have 
dominion  over  the  earth — a marvelous  awakening. 

This  significant  conception  is  truly  said  to  be  grander  in 
ideas  and  composition  than  any  other  the  Avorld  has  ever 
known. 


65 


48. 


HOLY  FAMILY. 

Uffizi  Gallery,  Florence. 

Michael  Angelo  said  himself  that  he  was  more  of  a sculp- 
mr  than  a painter.  He  disliked  oil  painting — which,  he 
declared,  was  fit  only  for  women  and  children.  The  Holy 
Family,  one  of  the  few  easel  pictures  painted  by  his  hand  (even 
this  was  painted  unwillingly)  contains  little  reminder  of  Peru- 
gino’s  or  Raphael’s  conception  of  the  subject.  But  it  is  very 
like  Michael  Angelo. 

The  Virgin,  seated  in  front,  is  a strong  vigorous  woman, 
whose  attitude  is  unusual  and  whose  face  is  neither  spiritual 
nor  pleasing.  Her  body  shows  a fine  display  of  muscles  as  she 
turns  to  lift  the  Child  who  also  shows  little  of  divinity,  and  is 
really  a study  in  anatomy  and  foreshortening.  The  nude 
sculpturesque  figures  in  the  background  are  strangely  out  of 
keeping  with  the  subject.  Michael  Angelo’s  aim  is  supposed  to 
have  been  not  so  much  a representation  of  the  tender  senti- 
ments of  the  Holy  Family  as  the  solution  of  a definite  artistic 
problem — how  to  express  the  greatest  amount  of  action  in  a 
very  limited  space. 

The  work  is  characteristic  of  the  artist,  in  that  it  is  more 
like  a bas-relief  or  a colored  cartoon  than  a painting.  It  is 
masterful  in  modeling,  full  of  vigor  and  force,  but  lacks  the 
spiritual  significance,  grace  and  sentiment  found  in  similar 
subjects  by  other  artists. 

49. 

THE  LAST  JUDGMENT. 

Sistine  Chapel,  Vatican,  Rome. 

This  colossal  composition,  one  of  the  latest  and  most  mon- 
umental works  of  Italian  art,  is  a fresco  over  the  altar  of  the 
Sistine  Chapel,  filling  a space  sixty  feet  high  by  thirty  broad. 
It  is  one  of  the  last  by  Michael  Angelo’s  hand,  was  painted 
when  he  was  sixty  years  of  age,  and  occupied  eight  years  in 


66 


painting.  In  it  he  gratified  his  supremest  desire — to  be  able 
to  realize  all  the  possibilities  of  movement,  position,  foreshort- 
ening and  grouping  of  the  nude  human  form.  . 

The  fresco  is  now  so  blackened  with  the  smoke  of  burning 
incense,  that  at  first  sight  it  appears  like  a stormy  sky  with 
shifting  clouds  gathering  from  all  sides;  after  a few  moments 
the  composition  slowly  unfolds  itself. 

Christ,  the  avenging  Judge,  with  Mary  clinging  timidly  to 
his  knee,  forms  the  center;  an  immense  circle  of  saints,  each 
with  his  appropriate  emblem  in  hand,  surrounds  him;  below 
are  the  archangels  hastening  to  earth,  the  blasts  of  their  trum- 
pets proclaiming  inexorable  judgment ; from  the  depths  below 
on  the  left,  arise  the  awakened  dead;  opposite  on  the  right 
Charon  in  his  boat  strikes  with  his  oar  those  who  are  attempt- 
ing to  climb  into  it;  above  him,  also  on  the  right  are  the 
doomed,  a crowd  of  struggling,  writhing  shapes  striving  to 
reach  heaven,  but  thrust  down  by  angels  and  devils.  Quite 
above  the  circle  of  the  elect,  are  the  blessed,  bearing  the  instru- 
ments of  the  death  and  sufferings  of  Christ.  The  work  con- 
tains over  two  hundred  figures  and  is  said  to  have  been  first 
exhibited  to  the  public  on  Christmas  Day,  1541. 

50. 

THE  CUMEAN  SIBYL. 

Sistine  Chapel,  Vatican,  Rome. 

On  the  Sistine  ceiling,  seated  with  the  prophets  of  old, 
are  the  Sibyls,'  the  prophetesses  who  were  to  the  Gentiles  what 
the  prophets  were  to  the  Jews, — the  foretellers  of  the  coming 
of  the  Redeemer.  There  are  some  curious  and  interesting  tra- 
ditions pertaining  to  the  origin  and  teachings  of  this  peculiar 
race  of  women.  Michael  Angelo  has  interpreted  their  several 
offices  and  attributes  in  his  own  original  manner,  and  none 
more  strikingly  than  those  of  the  Cumean  Sibyl  who  foretold 
the  Nativity  in  the  stable. 

Legend  says  that  six  centuries  before  Christ,  she  came 
three  times  to  Tarquin,  King  of  Rome,  to  sell  him  nine  books 
of  prophecy.  Each  time  he  refused  to  buy  she  burned  three; 


67 


the  third  time  he  bought  the  last  three,  paying  the  price  of 
the  original  nine.  For  centuries  these  books  were  under  the 
care  of  the  priests  in  the  Capitol,  where  they  were  consulted  at 
trying  periods  of  the  nation’s  history,  until  they  were  destroyed 
at  the  burning  of  the  temple  of  Jupiter  in  3 B.  C.  This  super- 
human figure  breathes  mental  energy  in  every  physical  detail 
as  with  intense  gaze  she  peers  into  her  book  of  prophecy  which 
holds  all  mystery  and  all  knowledge. 

Th^e  figures  of  the  Prophets  and  Sibyls  are  among  the 
highest  examples  of  Michael  Angelo’s  power  as  well  as  among 
the  most  forcible  expressions  of  the  Italian  Renaissance. 


RAPHAEL. 

1483-1520. 

Umbrian. 

For  two  hundred  years,  since  the  time  of  the  awakening 
by  Cimabue,  artists  have  been  working  toward  the  highest 
development  of  art,  each  adding  his  mite  toward  this  achieve- 
ment. Into  the  latter  part  of  the  fifteenth  century  came  Raphael 
Sanzio,  an  artist  who  occupies  a unique  place;  not  because  he 
contributed  anything  new  or  great,  but  because  he  united  and 
assimilated  the  best  that  his  predecessors  had  given — thought, 
form,  expression,  beauty — and  sought  by  a union  of  these  ele- 
ments to  produce  perfect  harmony.  So  well  did  he  succeed ^ 
he  is  often  called  the  Harmonist  of  the  Renaissance. 

For  his  period  and  school  he  was  quite  remarkable  tech- 
nically. In  composition  he  excelled.  Even  in  color  he  was 
good  for  Florence,  though  not  equal  to  the  Venetians.  His 
work  is  marked  by  serenity,  grace  and  naturalness  of  the 
human  figure,  beauty,  gentleness  and  tenderness  of  expression. 
But  it  is  because  his  art,  apart  from  its  technical  skill  and 
charm,  combines  so  admirably  the  religious  and  the  pagan 
feeling, — the  personal  intensity  and  reverence  of  the  one  with 
the  impersonal  serenity  and  happiness  of  the  other, — that  he 
holds  a place  distinct  from  any  other  artist. 


51. 


MADONNA  OF  THE  GRAND  DUKE. 

Pitti  Palace,  Florence. 

The  eai’liest  Madonna  pictures  known  are  of  the  portrait 
style,  are  of  Byzantine  or  Greek  origin,  and  were  brought  to 
Rome  from  Constantinople.  This  type  remained  practically 
unchanged  until  the  thirteen tli  century.  With  the  dawn  of 
the  Renaissance  this  form  passed  out  of  vogue,  giving  place  to 
more  elaborate  styles.  The  fii-st  Madonna  painted  by  Raphael 
after  he  left  Perugino  was  the  incomparable  Madonna  del 
Granduca,  in  which  he  returned  to  the  simple  early  represen- 
tation. 

There  can  hardly  be  a more  conclusive  argument  for  the 
pi*e-eminent  genius  of  this  artist  than  the  fact  that  the  pic- 
ture was  painted  when  he  was  but  tvrenty-one.  It  is  one  of 
the  few  Madonnas  in  which  only  the  Virgin  and  Christ  appear. 
The  draperies  are  of  the  simplest,  the  only  bit  of  symbolism 
introduced  is  the  thread-like  halo  above  each  head.  It  was 
once  bought  for  the  equivalent  of  about  twenty  dollars.  After- 
ward it  was  purchased  by  the  Grand  Duke  Ferdinand  III  of 
Tuscany,  who  was  so  devoted  to  it  that  he  had  it  always  in  his 
apartments  or  carried  it  about  with  him  on  his  travels. 

The  compasition  is  one  of  absolute  simplicity.  The  fig- 
ures of  both  Madonna  and  Child  are  marked  by  vertical  lines, 
the  OTily  deviation  being  the  direction  given  to  the  Virgin’s 
head.  Pier  face,  with  its  exquisite  oval,  its  softly  drooping  eyes 
and  infinitely  sweet,  tender  expression  is  appealingly  lovely. 

The  Ducal  Madonna  combines  the  spiritual  and  earthly 
elements  to  a remarkable  degree;  it  shows  a mingling  of  the 
last  touches  of  reverence  and  solemnity  of  the  Umbrian  School 
with  the  eailhly,  more  material  beauty  which  were  character- 
istic of  the  master’s  later  Florentine  style.  The  atmosphere  of 
Perugino  still  breathes  from  this  tranquil  picture. 


69 


52. 


LA  BELLE  JARDINIERE. 

Louvre,  Paris. 

It  was  not  until  the  sixteenth  century  that  the  pastoral 
Madonna,  in  its  highest  form,  was  first  produced,  for  many  cen- 
turies passed  before  artists  turned  their  attention  from  figure 
painting  to  natural  scenery.  Raphael  has  a group  of  these 
which  is  unique  as  nature  idyls. 

La  Belle  Jardiniere,  known  to  all  the  world  as  the  Beauti- 
ful Gardener,  is  one  of  the  very  famous  examples  of  the  type. 
This  masterpiece  of  composition  is  grouped  in  Raphael’s  fav- 
orite pyramidal  form  and  has  for  a setting  an  ideally  beautiful 
bit  of  Tuscan  landscape,  showing  distant  views  of  hills,  towers 
and  placid  water.  The  Virgin,  with  the  Child  and  the  little 
St.  John,  are  seated  in  the  near  foreground  on  a grassy  knoll, 
while  all  about  them  are  flowers  and  grasses  painted  with  great 
care  for  detail.  The  figures  seem  to  belong  to  the  landscape  as 
naturally  as  the  blossoms  around  them. 

Here  is  no  subtlety,  no  strong  emotion,  no  mystery,  except 
the  wonderful,  beautiful  mystery  of  placid  childhood  and 
maternal  love.  The  simple  sweetness  and  serenity  of  La  Belle 
belong  as  much  to  the  atmosphere  of  the  open  fields  as  the 
mysterious  smile  of  Leonardo’s  Virgin  to  her  shadowy  sur- 
roundings. The  background  shows  the  influence  of  Perugino ; 
the  wide  stretch  of  Umbrian  landscape  is  very  similar  to  that 
found  in  the  earlier  master’s  ‘‘Adoring  Virgin.” 

53. 

PARNASSUS. 

Stanze,  The  V atican,  Rome. 

The  qualities  of  the  artist  in  which  Raphael  remains  most 
unapproachable,  are  illustration  and  composition.  When  he 
was  twenty-five  he  was  summoned  to  Rome,  by  Pope  Julius  II, 
to  assist  in  decorating  the  chambers  of  the  Vatican.  In  these 
frescos  Raphael  had  ample  opportunity  to  exercise  his  power 


70 


as  a “space  filler”.  He  was  confronted  with  trying  difficulties, 
however,  as  the  spaces  were  many  of  them  awkward  to  fill. 

No  fresco  in  this  room  is,  perhaps,  more  pleasing  than 
Parnassus,  and  none  more  poetical  in  conception.  On  the  left 
is  the  stately  figure  of  the  blind  Homer  and  further  in  the  back- 
ground Dante  and  Virgil  are  recognizable.  Below  are  Petrarch 
and  Sappho.  On  the  right,  in  the  lower  corner,  are  Pindar 
and  Horace  and  behind  them  a group  supposed  to  he  contem- 
poraries of  Raphael;  many  of  the  figures  have  not  been  satisfac- 
torily identified.  There  are  interesting  differences  between 
this  and  Mantegna’s  version  of  the  same  theme. 

54. 

CHRIST’S  CHARGE  TO  PETER. 

South  Kensington  Museum,  London. 

Among  the  multitudinous  activities  of  Raphaers  short 
life  of  thirty-seven  years,  was  the  designing  for  Pope  Leo  X,  a 
series  of  ten  great  subjects  from  the  New  Testament  to  be 
woven  in  tapestry.  The  cartoons  for  these  works  were  painted 
in  tempera  colors,  were  finished  in  1516  and  taken  to  Brussels 
where  the  tapestry  was  to  be  woven.  Seven  of  them  remained 
there  until  1630,  when  they  were  bought  by  Charles  I.,  on  the 
advice  of  Rubens,  and  taken  to  England.  These  celebrated 
works,  now  in  the  South  Kensington  Museum,  London,  are, 
on  the  whole,  Raphael’s  most  triumphant  achievement  along 
the  line  of  design  and  academic  composition. 

The  one  reproduced  here  represents  Christ’s  repeated 
charge  to  Peter — “Feed  my  Sheep.”  At  the  left  stand  the  dis- 
ciples ; Peter  kneels  slightly  in  front,  gazing  intensely  upward 
into  the  face  of  Christ  who  emphasizes  his  command  by  a vig- 
orous two-fold  gesture.  The  chief  interest  of  the  work  centers 
in  the  varied  expressions  which  animate  the  group  of  the  dis- 
ciples. The  nearest,  attracted  by  the  radiant  figure  of  the 
Christ,  are  ready  to  fall,  like  Peter,  on  their  knees ; those  imme- 
diately behind  show  hesitation,  doubt  and  a casting  of  inquir- 
ing glances,  while  the  last  hold  back  in  pronounced  distrust. 


71 


Raphael’s  conception  of  the  theme  is  of  particular  psycholog- 
ical interest. 

Although  the  cartoons  were  cut  into  strips  to  accommodate 
the  weavers,  they  have  been  so  carefully  pieced  together  they 
seem  quite  perfect.  The  color  is  still  fine,  and  each  scene 
shows  that  happy  union  of  the  classic  with  the  modern  spirit 
that  only  Raphael  could  make  harmonious.  These  cartoons 
alone  were  enough  to  found  the  master’s  fame. 

55 

SISTINE  MADONNA. 

Royal  Gallery,  Dresden. 

The  worship  of  the  Madonna  began  as  early  as  the  year 
403.  She  was  first  looked  upon  merely  as  a mediator  who 
might  be  implored  for  intercession  before  an  offended  God, 
therefore  the  early  representations  were  symbolic,  severe  and 
forbidding,  but  as  art  and  Christianity  advanced,  there  was  an 
increase  in  the  dignity  of  the  Virgin  and  in  her  importance 
as  an  individual.  As  the  human  element  crept  in,  it  is  inter- 
esting to  follow  the  gradual  evolution  into  the  Madonna  as  a 
revelation  of  motherhood.  The  Byzantine  gilded  settings,  jew- 
eled draperies  and  heavy  haloes  have  disappeared;  the  robe  is 
simple,  the  halo,  if  represented  at  all,  is  by  a thread-like  circle ; 
instead  of  the  elaborate  throne,  the  Virgin  is  portrayed  in  the 
clouds  or  with  a landscape  background. 

From  the  stiff,  conventional  form  of  Cimabue's  Virgin 
through  many  and  varied  types,  the  highest  ideal  is  reached  in 
the  Sistine  Madonna,  the  last  and  greatest  of  the  forty 
Madonnas  painted  by  Raphael  and  now  occupying  a special 
cabinet  in  the  Dresden  Gallery.  It  needs  to  be  seen  there  in 
that  quiet  room  and  approached  in  a reverent  spirit  to  be  fully 
appreciated.  Through  the  parted  curtains  one  seems  to  be 
looking  into  the  very  heaven  of  heavens;  a cloud  of  cherub 
faces  fills  tlie  air,  from  the  midst  of  which  the  Madonna  moves 
steadily  forward,  carrying  foilh  her  Child  to  the  service  of 
humanity.  It  is  thus  she  becomes  one  of  ^‘His  witnesses  unto 
the  people”  and  presents  him  to  the  world  for  the  fulfillment 


of  his  calling.  The  inexplicable  expraision  which  Kaphael 
gives  to  his  Child  Christs  reaches  its  height  in’  the  face  of  this 
Child, 

The  finishing  touch  to  the  whole  is  given  in  the  two 
enchanting  boy  angels,  who  complete  this  great  composition 
which  belongs  to  no  special  epoch,  exemplifies  no  paiticular 
I’eligious  creed,  but  exists  for  all  mankind. 

DEL  SARTO. 

1486-1531. 

Florentine. 

Immediately  after  Leonardo,  Michael  Angelo  and  Raphael, 
into  the  most  exacting  period  of  the  Renaissance  came  Andrea 
del  Sarto.  The  age  demanded  not  only  the  greatest  technical 
equipment,  but  the  greatest  spiritual  gifts,  and  it  is  perhaps 
due  to  his  lack  of  the  loftier  qualities  of  imagination  and  sen- 
timent that  Andrea  stops  just  short  of  perfect  fulfillment. 

As  regards  the  technical  features  of  his  ail,  drawing,  color, 
feeling  for  light  and  shade,  the  handling  of  fresco  and  oil,  he 
was  in  advance  of  any  Florentine  painter  of  the  period;  but 
though  he  painted  religious  subjects,  he  w^as  more  concerned 
with  the  material  than  the  spiritual  side,  and  his  exquisite  com- 
positions have  little  devotional  feeling  about  them.  Neverthe- 
less, he  was  among  the  best  Italian  masters  and  his  special 
glory  is  that,  living  at  a time  when  all  Italy  was  overshadowed 
by  the  three  mighty  geniuses  of  the  Renaiasance,  he  accom- 
plished works  which  were  strictly  permeated  with  his  own  per- 
sonality and  were  masterpieces. 

Michael  Angelo,  the  greatest  master  of  all,  named  him 
the  faultless  painter.  Nothing  can  exceed  the  charm,  the 
delightful  harmony  of  his  color,  and  it  is  doubtless  largely 
through  circumstance  of  period  and  environment  that  he 
stands  just  a step  below  the  greatest  in  Italian  art. 


73 


56. 


PORTRAIT  OF  HIMSELF. 

National  Gallery,  London. 

This  fascinating,  somewhat  melancholy  face  might  easily 
be  an  image  of  the  unhappy  Andrea,  but  his  authenticated 
likeness  does  not  bear  out  the  similarity.  It  is  evidently  that 
of  some  sculptor,  as  he  seems  to  be  holding  in  his  hands  a 
piece  of  modeling  clay.  The  classic  features,  the  wonderfully 
living  expression  of  the  eyes  in  their  side  glance,  make  it  an 
unusually  attractive  portrait. 

57. 

THE  PIETA. 

Imperial  Gallery,  Vienna. 

Andrea’s  representation  of  The  Mourning  for  Christ — 
shows  the  body  of  the  Saviour  reclining  on  a slab  overlaid  with 
cloth.  The  Virgin,  with  sorrowful  expression  and  tear-stained 
face,  bends  over  it ; the  head  is  supported  by  an  angel ; at  the 
feet  is  the  figure  of  a second  angel.  These  two  attendant  angels 
are  lovely  figures — among  the  loveliest  ever  painted  by  Andrea. 
The  work,  while  most  beautiful  in  sentiment  and  color,  lacks 
the  deep  reverent  piety  of  Francia’s  Pieta.  Andrea  has  made 
the  scene  impressive  and  noble,  yet  human.  It  seems  to  belong 
more  to  the  realistic  than  the  mystic  school,  and  reveals  an 
unmistakable  tendency  toward  naturalism. 


58. 

ST.  JOHN  THE  BAPTIST. 

Pitti  Palace,  Florence. 

This  fine  work,  so  full  of  the  Renaissance  spirit,  shows  the 
result  of  effort  toward  the  representation  of  physical  perfection. 
x\s  some  one  has  said,  it  shows  what  artists  could  do  now  that 
they  knew  their  anatomy.  It  departs  entirely  from  the  earlier 


74 


tradition  and  represents  the  patron  saint  of  Florence  in  the 
form  of  a beautiful,  noble  youth,  with  nothing  about  him  ot 
the  penitent  or  the  ascetic.  It  is  an  ideal  picture  and  one  of 
the  most  popular  portraits  of  this  familiar  figure. 

59. 

MADONNA  OF  THE  HARPIES. 

Uffizi  Gallery,  Florence. 

Tlie  Madonna  of  the  Harpies,  so  called  from  the  relief  of 
harpies  carved  on  the  pedestal  of  the  Virgin’s  throne,  was  ori- 
ginally executed  for  a Franciscan  convent  and  is  now  among 
the  chief  ornaments  of  the  Uffizi  Gallery.  It  was  painted  a 
few  months  after  the  artist’s  marriage  to  the  beautiful  Lucre- 
zia,  whose  features  are  recognized  in  the  Viren’s  face.  The 
Child  clings  lovingly  to  the  Mother’s  neck,  two  boy  angels 
play  with  the  skirts  of  her  robe.  At  the  foot  of  the  throne 
stands  St.  Francis,  with  crucifix  in  hand,  while  the  youthful  St. 
John  is  seen  in  the  act  of  writing  his  gospel.  . 

Andrea  never  excelled  this  composition,  which  in  simp  e 
grace  and  majesty  is  unique  among  his  works.  Devoid  of 
symbols,  it  represents  the  highest  development  of  this  ancient 
type  of  altarpiece.  The  evolution  of  this  style  of  composition 
is  interesting ; comparing  it  with  earlier  enthroned  Madonnas, 
one  is  impressed  with  the  dignity  and  simplicity  of  this  six- 
teenth century  work,  which  is  so  free  from  unnecessary  acces- 
sories. It  is  one  of  the  most  beautiful  of  the  type,  exquisite 
in  color  and  absolutely  symmetrical  in  arrangement;  it  is, 
beside,  so  sculpturesquely  composed,  one  wonders  it  has  never 
been  reproduced  in  marble. 

CORREGGIO. 

1494?-1534. 

Parmese. 

Correggio  seized  upon  a niche  which  even  in  so  rich  a 
period  in  art  was  still  unoccupied.  He  passed  by  the  religious, 
the  classic,  the  literary,  and  as  an  art  motive  chose  the  purely 


75 


material  beauty  of  the  world  and  the  joy  of  physical  life.  He 
is  perhaps  the  artist  with  whom  the  beauty  of  the  human  as 
distinguished  from  the  religious  and  the  classic  showed  at  its 
very  strongest.  His  figures  appeal  to  us  not  intellectually,  not 
historically,  not  religiously,  but  artistically. 

Correggio  is  usually  classed  with  the  Parmese  School ; really 
he  stands  somewhat  apart  from  any,  but  it  was  at . Parma, 
far  from  the  direct  influences  alike  of  antique  or  modern  art, 
that  he  was  able  to  follow  the  bent  of  his  own  genius.  Tech- 
nically, he  was  quite  a perfect  painter;  his  peculiar  chiaroscuro 
by  which  forms  are  “half  concealed,  half  unveiled,'’  is  one 
of  his  characteristic  and  most  fascinating  qualities,  w^hile 
rhythm  of  line,  a wonderful  play  of  light,  shade  tuid  color 
combined  with  charm  and  grace,  take  the  place  of  a grand, 
classic  st}de.  In  studying  his  pictures  one  feels  that  what- 
ever the  subject,  they  were  painted  first  of  all  to  express  beauty. 
He  was  one  of  the  first  men  in  the  Renaissance  to  paint  a pic- 
ture for  the  purpose  of  weaving  a scheme  of  lights  and  darks 
through  a tapestr}^  of  rich  colors, — an  art  for  art’s  sake  motive. 
His  works  never  arouse  profound  or  exalted  sentiment,  but  his 
soft  melting  tones  and  contours,  his  lovely  creatures,  with  their 
forms  enveloped  in  palpitating  atmosphere,  moving  and  smil- 
ing in  the  fullness  of  pure,  unalloyed  happine^,  make  an 
unavoidable  appeal  to  the  purely  artistic  and  jesthetic  sense. 
They  are  full  of  delightful  enjoyment. 

60. 

THE  IMARPJAGE  OF  ST.  CATHERINE. 

Louvre,  Paris. 

One  of  the  most  beautiful  of  his  so-called  religious  paint- 
ings is  the  Marriage  of  St.  Catherine  of  Alexandria.  This 
legend  was  never  enveloped  with  a greater  charm  of  loveliness 
than  Correggio  has  given  it.  St.  Catherine  was  the  maiden 
Queen  of  Alexandria  who  dared  to  be  a Christian  and  eventu- 
ally died  for  her  faith  by  torments  of  the  wheel,  which  emblem 
appears  in  many  of  her  representations.  She  had  a vision  in 
which  it  was  made  known  to  her  that  she  should  consider  her- 


76 


s«If  the  bride  of  Christ,  aaid  in  this  mystic  marriago  is  iLsuaily 
represented  as  kneeling  before  the  little  Christ,  who  places  the 
betrothal  ring  upon  her  finger. 

There  is  no  trace  of  religious  feeling  in  Correggio’s  repre- 
sent^ion  of  the  theme,  but  it  is  filled  with  a sense  of  innocent 
joy  harmonious  with  the  subject.  Even  St.  Christopher,  who  i.s 
the  witness  of  the  nuptial,  typifies  the  god  of  love  more  than 
the  martyred  saint.  Correggio  was  a painter  to  his  finger-tips, 
and  this  wonderfully  beautiful  picture  gives  an  almost  per- 
fect idea  of  his  genius. 

61. 


HOLY  NIGHT. 

Royal  Galleiy,  Dr^den. 

Correggio  has  given  no  better  example  of  his  originality 
in  the  handling  of  light  and  shade  than  in  his  Holy  Night. 
The  treatment  was  suggested  by  a passage  in  the  Apocryphal 
Gospel,  which  tells  how  St.  Joseph,  upon  entering  the  stable, 
saw  the  Child  shining  with  a supernatural  radiance  which 
lighted  the  figures  of  the  Virgin  and  angels.  There  is  such 
perfect  symmetiy  between  the  attitude  of  the  spectators  and  the 
artistes  way  of  bringing  his  light  to  bear  upon  them,  that  the 
ingenuity  of  the  handling  is  apt  to  be  overlooked;  the  central 
light  which  emanates  from  the  Child  throws  its  strongest  rays 
on  the  face  of  the  Virgin,  next  lighting  the  faces  of  the  shep- 
herds, then  that  of  the  woman  who  shields  her  eyes  with  her 
hand;  a lesser  light  comes  from  the  angels  above,  still  fainter 
is  the  morning  light  just  appearing  above  the  hill  tops  in 
the  distance. 

Not  until  Rembrandt’s  time  has  any  artist  used  so  daring 
a scheme  in  the  lighting  of  a picture.  The  mysterious  glow, 
which  penetrates  softly  even  to  the  shadows,  gives  a truly 
miraculous  atmosphere  to  the  entire  scene.  Correggio  was  the 
first,  to  put  color  in  shado^^.  Rembrandt  followed  and  per- 
fected the  system. 


GIORGIONE. 

1477-1510? 

Venetian. 

After  Correggio,  one  must  again  turn  to  Venice  to  find 
further  developments,  as  it  was  with  the  Venetian  painters  of 
the  sixteenth  century  that  a new  art  motive  was  fully  adopted. 
This  motive  was  neither  religious,  nor  classical,  but  a striving 
after  pictorial  effects  in  which  religion  and  classicism  played 
secondary  parts.  No  matter  what  the  subject,  the  Venetian 
picture  was  always  concerned  with  beauty,  as  it  appealed  to  the 
eye,  and  color  was  its  key  note.  Yet  while  the  art  of  Venice 
was  more  gorgeous,  more  splendid,  it  lacked  the  depth  of 
thought  that  distinguished  Florentine  art. 

The  most  positive  in  influence  upon  his  contemporaries 
of  all  the  great  Venetians  was  Giorgione;  indeed  he  is  espe- 
cially great  as  an  influence,  for  he  lives  more  through  the 
work  of  his  contemporaries  and  followers  on  whom  he  exerted 
his  powerful  personality  than  through  his  own  paintings.  He 
revolutionized  the  art  of  V enice  by  giving  pure  pictorial  beauty 
predominance  over  subject,  by  making  the  sentiment  of  art 
second  to  its  artistic  development  and  by  sacrificing  detail, 
which  had  been  of  so  much  value  in  earlier  V enetian  painting, 
to  the  effect  of  the  whole.  He  is  particularly  noted  for  the 
glowing  intensity  of  his  color,  in  fact,  is  said  to  have  rivaled 
even  Titian  in  the  richness  of  his  coloring,  as  in  the  depth  of 
his  sentiment. 

He  died  young  and  left  few  pictures,  but  is  classed  as  the 
first  of  the  four  great  Venetians  with  whom  Venice  reached  her 
highest  artistic  perfection. 

62. 

THE  CONCERT. 

Pitti  Palace,  Florence. 

The  Concert  represents  a young  Augustinian  monk  with 
the  face  of  an  ascetic,  seated  at  an  organ  turning  his  head 
abstractedly  in  response  to  a touch  on  his  shoulder.  The 


78 


modeling  of  the  head  and  hands  is  masterful,  the  latter  in  their 
grasp  on  the  keys  show  the  musician  to  be  a master  of  his 
art.  The  whole  pose  and  expression  of  the  man  is  an  inspired 
conception  of  poetic,  ideal  beauty.  T.he  other  figures  are  cle\- 
erly  subservient;  by  contrast  they  serve  to  throw  into  stronger 
relief  the  beauty  of  the  central  one. 

Giorgione,  who  himself  played  and  sang  divinely,  often 
introduced  tokens  of  his  love  for  music  into  his  pictures. 

PALMA  IL  VECCHIO. 

1480?-1528. 

Venetian. 

Beside  the  men  of  highest  rank  were  a group  of  painters, 
who  in  any  other  time  or  city  would  have  held  first  place, 
Palma  Vecchio,  though  not  a great  original  painter,  is  noted 
for  his  portrayal  of  quiet,  dignified,  beautiful  Venetians  under 
the  names  of  saints  and  Holy  Families  of  which  the  familiar 
and  majestic  figure  of  St.  Barbara  is  an  example.  After  the 
fifteenth  century,  the  Madonnas  and  saints  of  the  Venetian 
painters  were  no  longer  represented  as  ascetic,  morose  figures, 
but  as  beautiful  youthful  women  who  held  life  to  be  well 
worth  living. 

Venetian  art  originated  that  form  of  pastoral  Madonna 
known  as  Sacred  Conversations,  usually  a long  narrow  picture 
showing  a group  of  personages  against  a landscape  setting  cen- 
tered about  the  Virgin — a style  which  Palma  carried  to  great 
perfection.  He  came  at  the  beginning  of  the  century  made 
glorious  by  Titian  and  contributed  not  a little  in  his  own  way 
to  its  glory,  sharing  with  Titian  and  Giorgione  the  honor  of 
modernizing  and  regenerating  Venetian  art. 

G3. 

ADOPvATION  OF  THF  SHFPHFPvDS. 

Louvre,  Paris. 

This  Adoration  is  a charming  idyl  of  Venetian  painting 
and  was  for  many  years  attributed  to  Titian — an  attribution 
not  surprising  when  one  notices  the  fine  type  of  figures,  rich 


79 


warm  color  and  beautiful  tonal  harmony.  It  was  evidently 
intended  for  a votive  offering,  for  in  the  left  hand  corner  the 
kneeling  figure  of  the  donor  is  introduced.  Palma  shows  an 
excellent  handling  of  this  subject  so  old  in  story.  The  Virgin 
and  St.  Joseph  are  seated  before  a ruined  building,  between 
them  on  a little  basket  crib  stands  the  Child ; to  the  right,  in 
tattered  raiment,  humbly  kneels  a young  shepherd,  whose  face 
wears  an  expression  of  worshipful  adoration  as  he  ga^es  at  the 
little  Christ.  This  figure  is  a particularly  noticeable  bit  of 
individuality. 

The  work  is  exceptionally  fine  in  grouping,  is  also  sincere 
and  reverent  in  sentiment.  It  is  in  the  form  of  the  Holy 
Conversations  said  to  have  originated  with  Palma,  a style  of 
composition  which  found  great  favor  in  Venice.  These  pic- 
tures purporting  to  be  the  Holy  Family,  with  or  without  the 
addition  of  saints  grouped  about  them,  were  in  reality  repre- 
sentations of  Venetians  in  pastoral  surroundings.  In  Palma^s 
hands  the  sacred  subject  became  a sort  of  religious  story  of 
everyday  life. 

LOTTO. 

1480?-1556? 

Venetian. 

Loi*enzo  Lotto,  a fellow-worker  of  Palma’s,  was  a man  of 
deep  religious  nature  whose  interpretations  of  Bible  themes 
show  much  of  the  early  religious  feeling,  a return  to  which  was 
being  taught  by  the  reformers  at  that  time.  With  the  excep- 
tion of  portraits,  for  which  he  was  particularly  famous,  he 
paintod  religious  pictures  almost  exclusively ; at  the  same  time 
he  was  an  artist  with  so  strong  a personality,  was  one  who 
put  so  much  individuality  into  his  work,  that  his  spirit  is  more 
like  that  of  our  moderns  than  is,  perhaps,  that  of  almost  any 
other  Italian  painter. 


80 


G4. 


MADONNA  AND  CHILD  WITH  SAINTS. 

Imperial  Gallery,  Vienna. 

Palma  Vecchio’s  influence  is  clearly  rnarked  in  this  work 
of  Lotto’s  which  is  in  the  form  of  the  Sacred  Conversations 
developed  hy  the  earlier  master.  In  an  open  and  sunny  land- 
licape  the  Madonna  is  seated  beneath  an  oak  tree.  Behind  her 
an  angel  holds  a crown  of  blossoms  over  her  head;  the  Child 
in  her  arms  raises  one  hand  in  blessing,  with  the  other  he 
turns  the  pages  of  a book  held  by  St.  CaBierine,  who  kneels 
before  him.  To  the  extreme  right  kneels  St.  Jam^  the  Elder. 
The  picture  is  finely  grouped,  and' ■filled  with  a feeling  of  rev- 
erent worship. 

MORONI. 

1510-1578. 

Venetian. 

Of  Giovanni  Moroni,  little  is  known  save  that  he  was  a 
talented  portrait  painter  who,  according  to  his  admirers,  was 
surpassed  only  by  Titian.  He  was  eminently  gifted  in  repre- 
senting the  character  of  men  and  women  of  lowly  claims  of 
birth  whom  he  usually  chose  as  his  subjects.  His  portraits 
are  very  striking  by  reason  of  their  realism,  their  strong  per- 
sonal quality  and  their  perfection  of  technique. 

65. 

PORTRAIT  OF  A TAILOR. 

National  Gallery,  London. 

Standing  before  The  Tailor,  one  is  impressed  with  the 
fact  that  Moroni  had  the  advantage  of  the  modern  artist  in 
the  matter  of  costume.  So  picturesque  a figure  to  make  a por- 
trait of  could  hardly  be  found  in  our  day. 

Tliis  veritable  masteiq)iece  represents  a man,  attired  in 
white  jaeket  and  red  breeches,  standing  before  a table,  shears 
in  hand,  ready  for  work.  One  is  not  sure  whether  he  has 


81 


been  interrupted,  whether  his  mind  has  wandered  for  a 
moment  or  whether  he  is  experiencing  some  difficulty  in  decid- 
ing the  effect  of  the  first  cut.  There  is  something  so  strong- 
in  the  personality,  in  the  life-like  attitude  of  the  figure,  one 
instinctively  halts  before  it,  almost  expecting  the  man  to  turn 
again  to  his  task  and  feeling  no  little  curiosity  and  interest 
as  to  what  his  next  move  will  be.  Every  detail  is  painted 
with  perfection;  the  face  has  an  air  of  distinction  with  also 
a vague  tinge  of  melancholy,  which  makes  it  unusually 
attractive. 

The  masterly  portrait  of  “The  Doge’’  b}^  Bellini  is  not  more 
successful  than  this  Tailor  of  Moroni’s. 

TITIAN. 

1477-1576. 

Venetian. 

The  second  of  the  four  great  Venetians  was  Titian,  an 
artist  who,  in  himself,  was  an  epitome  of  all  the  excellences 
of  painting;  the  sum  of  Venetian  skill,  he  had  infinite  knowl- 
edge of  nature  and  infinite  mastery  of  art.  Under  a religious 
or  classical  name  he  told  his  story  of  a noble,  majestic  human- 
ity, taking  for  his  types  the  men  and  women  of  the  sea  race  of 
Venice,  proud,  active,  glowing  with  life,  the  embodiment  of 
luxury  and  power.  There  is  little  of  the  spiritual  ideal  in  his 
work — even  his  religious  pictures  seem  to  have  been  conceived 
largely  to  represent  groups  of  dignified,  tranquil,  magnificently 
painted  people.  His  portraits  are  among  the  most  noted  in 
art,  his  landscapes,  a new  art  feature  of  this  time,  show  obser- 
vation and  study  of  nature. 

His  superiority  lies  in  the  perfect  poise,  the  perfect  bal- 
ance, the  absolute  completeness  of  his  work,  giving  truth  to 
the  saying  that  he  “absorbed  his  predecessors  and  ruined  his 
successors.”  After  the  death  of  Giorgione  he  was  the  leader 
in  Venice  to  the  end  of  his  long  life. 


82 


66. 


THE  TRIBUTE  MONEY. 

Royal  Gallery,  Dresden. 

The  Tribute  Money,  which  now  sadly  shows  the  ravages 
of  time  and  restorations,  was  painted  by  Titian  to  refute  a taunt 
of  Dtirer,  who  claimed  his  work  was  lacking  in  finish.  For 
four  centuries,  this  famous  picture  has  received  the  highest 
praise  as  an  example  of  the  combination  of  perfection  of  detail 
an4  breadth  of  treatment. 

Titian  could  hardly  have  contrasted  two  men  with  wider 
differences  than  he  has  here.  The  questioning  Pharisee,  with 
his  face  full  of  cunning,  shows  his  eagerness  to  find  something 
to  condemn  as  he  leans  toward  the  Saviour,  holding  the  penny 
in  his  coarse,  vulgar  hand.  One  can  almost  imagine  his 
expression  of  satisfaction  changing  to  chagrin  at  the  Saviour’s 
answer  to  his  question, — ‘Ts  it  lawful  for  us  to  give  tribute 
unto  Caesar  or  no?”  The  artist  has  remarkably  handled  that 
most  difficult  problem,  the  painting  of  two  faces  on  a canvas 
without  undue  sacrifice  of  either  the  one  or  the  other;  the 
Christ  dominates,  yet  the  figure  of  the  Pharisee,  by  its  very 
contrast  and  clever  treatment,  attracts  its  due  proportion  of 
attention,  while  entirely  subordinate.  One  notices,  too,  how 
perfectly  the  hands  carry  out  the  contrast  of  types  shown  in 
the  heads. 

This  example  of  Titian’s  skill  was  a revelation  to  his 
German  critics. 

67. 


THE  MAN  WITH  THE  GLOVE. 

Louvre,  Paris. 

Widely  different  in  treatment  and  point  of  view  from 
Holbein’s  Portrait  of  George  Gyze  is  this  simple  portrait  by 
Titian.  The  two  works  constitute  an  interesting  comparison 
of  the  realistic  and  idealistic  motives;  the  one,  a representa- 
tion of  an  actual  scene  as  it  appeared  to  the  eye,  the  other, 


83 


evidently  an  interpretation  of  some  mood  either  of  tlie  artist  or 
the  subject. 

The  portrait  is  a masterly  one  not  only  in  the  expr^ion 
of  the  face,  the  elegant  simplicity  in  pose  and  arrangement, 
but  in  the  disposition  of  the  masses  of  light  and  dark;  the 
opening  in  the  outer  garment  widening  as  it  does  toward  the 
top  draws  the  eye  toward  and  intensifies  the  expression  of 
the  face.  The  contrast  in  the  arrangement  of  the  hands  is  mas- 
terly also,  the  right  hand  repeats  the  gesture  of  concenUution, 
the  left  has  an  ease  and  grace  which  corresponds  to  the  won- 
derfully calm,  dignified  poise  of  the  whole  figure.  A refined, 
simple  portrait;  which,  however,  unlike  Holbein’s  example, 
gives  an  impression  of  stateliness  and  aloofness  that  forbid:s 
close  intimacy. 

68. 

^ THE  ENTOMBMENT. 

Louvre,  Paris. 

The  Entombment,  a scene  of  the  Passion  Cycle,  was  a 
favorite  one  with  artists,  as  it  afforded  material  for  a dramatic 
representation.  In  older  works  the  apostles,  aided  by  the  Vir- 
gin, deposit  the  body  in  a sarcophagus,  but  customarily  there 
is  a rock-hewn  tomb  to  which  the  sacred  burden  is  being  car- 
ried. This  latter  treatment  was  adopted  by  Titian  and  the 
modem  artists. 

In  this  completely  artistic  picture,  the  body  of  Christ  is 
being  borne  to  the  grave  by  Nicodemus  and  Joseph  of  Arima- 
thea,  the  latter  swaying  the  body  toward  the  sepulcher,  which 
is  seen  to  the  right  partially  obscured  by  dense  shadow.  In  the 
background  stands  St.  John  the  Evangelist,  at  the  feet  of  the 
Lord,  are  Mary  Magdalene  and  the  Virgin.  The  faces  of  the 
group  and  the  lower  part  of  the  body  of  Christ  are  illumined  by 
a lurid  light  that  breaks  through  a rift  in  the  gloomy  sky. 

Titian’s  unerring  sense  of  dramatic  values  is  shown  in  the 
chiaroscuro;  the  shadows  are  so  effectively  managed  as  to  add 
greatly  to  the  pictorial  and  emotional  effect  of  this  exception- 
ally fine  work. 


84 


69. 


HOLY  FAMILY. 

Imperial  Gallery,  Vienna. 

The  Madonna  with  the  Chenies,  as  it  is  usually  called,  is 
an  early  work  of  Titian’s  which  represents  the  Virgin,  Christ 
and  the  boy  Baptist  between  St.  Joseph  on  the  left  and  St. 
Zacharias  on  the  right.  The  little  Christ  holds  a bunch  of 
cherries  with  both  hands  while  the  Virgin  with  an  unusually 
sweet  expression  looks  into  his  face.  While  perhaps  not  st) 
iiighly  spiritual  as  some  of  Raphael’s  Madonnas,  yet  it  is  ten- 
der, full  of  a certain  tranquil  dignity  and  very  reposeful  in 
sentiment.  The  little  St.  John,  with  his  intent,  eager  expres- 
sion, is  particularly  charming.  The  splendid  physical  beauty 
of  Titian’s  types  contrasts  strongly  with  the  more  intellectual, 
^iritual  countenances  of  Leonardo’s,  Botticelli’s  and  Raphael’s 
Madonnas. 

It  is  a noticeable  thing  about  the  Madonnas  of  the  old  mas- 
ters that  each  artist  has  represented  his  Virgin  as  if  she  were 
his  country  woman.  Raphael’s  Madonnas  are  unmistakably 
Italian ; Diirers  are  as  palpably  German ; Murillo’s  just  as  truly 
repr^ent  the  Spanish,  and  Titian’s  the  Venetian  type.  This 
me€uit  much  to  the  simple-minded  peasants  who  were  unable 
to  grasp  the  more  subtle  meanings  of  pictures.  But  they  well 
understood  mother  love  and  worshipped  it  in  the  pras^tment 
of  one  of  their  own  fatherland. 

70. 

SACRED  AND  PROFANE  LOVE. 

Villa  Borghese,  Rome. 

T^e  meaning  of  the  famous  picture  known  by  the  rather 
vague  name  of  Sacred  and  Profane  Love  is  a matter  of  con- 
jiecture — but  it  is  believed  to  represent  an  allegorical  romance. 

In  the  midst  of  a varied  and  beautifully  rendered  land- 
scape two  figures  are  seated  on  the  side  of  a fountain  basin; 
between  them  the  god  of  Ix)ve  is  leaning  over  the  edge  delight- 


85 


edly  playing  in  the  water.  The  eye  is  at  once  attracted  to  the 
two  equally  beautiful  figures,  one  almost  entirely  nude,  the 
other  in  direct  contrast,  splendidly  attired;  then  to  the  form 
of  the  lovely  little  cupid  which  breaks  the  somewhat  even  bal- 
ance. The  background  shows  Titian’s  appreciation  of  the  pic- 
torial beauties  of  nature.  He  and  Giorgione  were  the  first  to 
show  this  feeling  for  out  of  doors.  As  the  attention  is  drawn 
to  either  side,  one  notices  the  marvelous  detail  of  landscape, 
the  foliage,  the  relief  on  the  fountain  basin,  the  fine  lighting. 

The  picture  is  full  of  charming  features;  its  color  is  of  a 
wonderful  golden  tone  and  the  figures  are  ideal.  Although 
one  is  left  in  doubt  as  to  its  literary  meaning,  there  is  com- 
plete satisfaction  for  the  eye. 


71. 

ASSUMPTION  OF  THE  VIRGIN. 

Academy,  Venice. 

Representations  of  the  Virgin’s  Assumption  are  easily 
recognized,  as  for  seven  centuries  their  characteristics  have  been 
nearly  the  same.  The  Virgin  is  portrayed  as  rising  from  the 
tomb  and  ascending  into  heaven  to  meet  her  Son,  where  she 
assumes  her  rightful  place  at  his  side,  to  share  his  glory  and 
his  throne.  This  altar  piece  of  Titian’s,  now  unfortunately 
almost  ruined  by  retouching,  is  one  of  the  masterpieces  of  the 
Venetian  School. 

The  nature  of  the  subject  necessitates  its  division  into 
three  parts,  the  lower  with  the  apostles;  the  central  portion 
holding  the  Madonna  and  the  myriads  of  angels;  the  upper 
one,  God  the  Father  with  attendant  seraphs.  Titian  has 
achieved  a triumph  in  so  successfully  joining  the  three  divis- 
ions into  a comprehensive  whole.  He  has  so  arranged  his 
scheme  of  attitudes  and  color  as  to  irresistibly  draw  the  eye  to 
the  central  figure  of  the  Virgin.  The  deep  shadows  of  the 
lower  portion  with  the  uplifted  hands  and  faces  of  the  apostles, 
send  the  eye  upward  to  the  second  group,  the  two  being  bound 
together  by  the  arm  of  an  apostle  and  the  figure  of  a little 
angel  who  has  descended  lower  than  the  rest  as  though  eager  to 


86 


call  attention  to  the  miracle  above.  In  the  arch  of  the  picture 
is  seen  the  Father  with  outstretched  arms  and  glance  directed 
downward  to  the  Virgin.  Swarming  about,  with  looks  and 
gestures  directed  toward  her,  are  little  cherubs  in  every  con- 
ceivable graceful  position,  sweeping  far  up  like  a garland  on 
either  side  till  they  vanish  in  the  golden  light  of  the  back- 
ground. The  Virgin  is  a wonderfully  conceived  figure, — 
“She  mounts  as  if  of  herself,  impelled  by  inner  impulse,  but 
on  clouds  of  glory  borne  by  the  childish  angels.” 

It  is  a typical  work  of  the  art  of  this  period  which  in  its 
original  brilliance  and  sumptuousness  represented  the  Venetian 
ideal. 


TINTORETTO. 

1518-1592. 

Venetian. 

Contemporary  with  the  old  age  of  Titian  is  another  dis- 
tinguished Venetian  known  as  Tintoretto,  one  of  the  boldest, 
most  assured  painters  in  the  history  of  art.  Dramatic  in  his 
slightest  composition;  full  of  vigor,  fire,  impetuosity,  he  was 
in  some  respects  a reminder  of  Michael  Angelo.  At  his  best, 
perhaps  the  giant  Florentine  was  his  only  rival  in  force  and 
fertility  of  invention.  It  was  Tintoretto’s  aim  to  combine  the 
drawing  of  this  master  with  the  color  of  Titian. 

The  most  rapid,  the  most  tireless  workman  in  the  whole 
Renaissance  period,  his  greatest  delight  was  to  fling  upon 
vacant  spaces  of  wall  or  ceiling  the  pictures  ever  running  riot 
in  his  imagination.  It  is  only  in  Venice  that  he  can  be  seen  to 
advantage;  here  the  number  and  immensity  of  his  pictures 
would  have  convinced  even  the  great  Michael  Angelo  that  oil 
painting  was  not  always  work  for  women.  His  inventive,  dra- 
matic power  of  representation,  his  headlong,  muscular  figures, 
his  genius  in  making  even  his  light  and  shade  a power  of  move- 
ment, put  him  unmistakably  among  the  greatest  of  Venetian 
masters. 


87 


72. 


BACCHUS  AND  ARIADNE. 

Ducal  Palace,  Venice. 

Old  time  myths  and  legends  have  always  been  dear  to  the 
imagination  and,  naturally  enough,  artists  living  in  times  and 
countries  where  such  legends  were  most  honored  have  used 
them  over  and  over  again  as  subjects  for  pictures. 

The  Marriage  of  Bacchus  and  Ariadne,  in  the  peculiarity 
of  its  arrangement,  shows  the  daring  of  the  artist.  Even  at 
a period  in  art  when  angels  were  employed  to  fill  spaces  in  any 
posture  which  the  conditions  of  the  picture  demanded,  the  con- 
ception of  a nude  figure  suspended  from  above  in  the  arc  of  a 
circle  is  rather  unusual  as  well  as  difficult  of  artistic  accom- 
plishment. To  paint  a figure  floating  in  ether  was,  however, 
a simple  matter  for  Tintoretto,  and  with  his  genius  the  result 
is  a circular  composition  of  extreme  interest  and  beauty. 
The  god  of  wine  crowned  and  girded  with  vine  leaves,  offers 
the  nuptial  ring  to  Ariadne,  who  sits  on  the  shore  of  the 
island  of  Naxos,  where  she  has  been  abandoned  by  her  lover, 
Theseus.  Venus,  floating  above,  has  come  to  celebrate  the 
marriage,  and  places  a starrj^  crown  upon  the  head  of  the  for- 
saken daughter  of  Minos. 

Tintoretto  enters  so  completely  into  the  spirit  of  the  old 
classic  myths  and  gives  them  such  a sense  of  fitness,  that  one 
has  little  feeling  of  strangeness  in  the  presence  of  the  im- 
mortals. 

73. 

MIRACLE  OF  ST.  MARK. 

Academy,  Venice. 

Coming  to  this  masterpiece  in  paint,  one  realizes  that  art 
has  advanced  a long  Tvay  from  the  pictures  of  the  primitive 
Italian  School  with  their  motionless  saints  wrapped  in  pious 
meditations,  surrounded  by  followers  equally  motionless.  Here 
the  various  figures  are  not  only  in  movement,  but  their  move- 


88 


ment  is  violent,  showing  straining  muscles  and  brutal  emotions. 
Indeed  art  now  begins  to  take  a share  in  the  brutal  side  of  life 
just  as  poetry  was  soon  to  do  in  the  hands  of  Shakespeare. 

The  picture  illustrates  the  story  of  the  Christian  slave, 
who,  persisting  in  worshipping  at  the  shrine  of  St.  Mark,  is  con- 
demned to  torture  by  crucifixion;  as  the  punishment  is  about 
to  be  inflicted,  he  is  miraculously  released  by  the  saint  him- 
self. Tintoretto  has  chosen  a most  dramatic  moment  for  his 
representation  and  greatly  heighten^?,/the  interest  by  his  bril- 
liant, vivid  manner  of  illustration.  The  technique  and  model- 
ing of  the  composition  show  his  impetuosity  and  boldness.  The 
twist  of  the  torturer’s  body  as  he  turns  to  exhibit  his  broken 
hammer  is  a magnificent  rendering  of  tense  action.  Every 
figure  in  the  motley  crowd  is  intensely  alive,  but  among  these 
remarkably  drawn  and  posed  forms,  none  is  so  strikingly 
remarkable  as  the  person  of  St.  Mark  himself,  an  astonishingly 
foreshortened  figure,  sweeping  downward  with  irresistible, 
headlong  fury.  At  his  intervention,  the  bonds  of  the  slave  are 
loosed — nails  come  out,  ropes,  mallets,  hammers  are  broken, 
to  the  confusion  of  the  executioner  and  the  astonishment  of  the 
spectators. 

In  the  whole  realm  of  painting,  there  are  few  pictures  to 
be  compared  with  this,  for  violence  of  action  or  for  golden 
brilliance  of  color.  The  scene  is  illumined  with  a tawny,  red- 
dish, light,  like  the  glow  of  an  immense  conflagration. 

VERONESE. 

1528-1588. 

Venetian. 

Veronese,  whose  art,  unlike  Tintoretto’s,  was  scenic  rather 
than  dramatic,  is  preeminently  the  painter  of  the  pageant  pic- 
ture which  is  so  characteristic  of  the  Venetian  School.  His 
subjects,  with  few  exceptions,  are  drawn  from  Venetian  life; 
were  there  no  existing  records  describing  the  late  sixteenth  cen- 
tury manners  and  customs  in  this  city  of  the  sea,  Veronese’s 
works  would  accurately  reveal  them.  In  his  great  pictorial 
compositions  live  again  the  entire  cosmopolitan  population  of 
Venice,  even  to  the  dogs,  eats  and  monkeys,  for  his  yards  of 


89 


painted  canvas  are  almost  literal  transcriptions  of  the  life  of  his 
time.  The  greatest  decorator  of  his  day,  he  lavished  the  treas- 
ures of  his  decorative  imagination  upon  the  halls  and  palaces  of 
the  Venetian  nobles. 

The  art  of  this  great  master,  so  brilliant  in  color,  so  elab- 
orate in  subject,  so  grand  in  scale,  was  the  most  gorgeous  of  all 
the  Venetian  School;  his  followers  in  trying  to  imitate  his 
splendor,  fell  into  extravagance  and  thereby  brought  about  the 
decline.  Veronese  was  the  last  of  the  four  great  Venetians. 

74. 

FAMILY  OF  DARIUS  BEFORE  ALEXANDER. 

National  Gallery,  London. 

According  to  Ruskin,  this  magnificent  painting  is  the 
finest  Veronese  in  the  world. 

The  scene  ostensibly  represents  Alexander  the  Great,  sur- 
rounded by  his  generals,  '-receiving  the  ysubmission  of  the 
defeated  Persian  King,  Darius,  but  by  his  treatment  Veronese 
has  made  it  a piece  of  contemporary  Venetian  life,  simply 
painting  a group  of  living  V enetians  of  his  time,  dog,  monkey 
and  all.  It  is  a splendid  example  of  what  the  historical  pic- 
tures of  the  old  masters  were.  It  was  the  fashion  of  the  time 
to  pose  as  participants  in  historic  scenes;  the  principal  figures 
here  are  supposed  to  be  contemporary  portraits  of  the  Pisani 
family  for  whom  the  picture  was  painted;  the  setting,  tlie  hall 
of  an  Italian  palace. 

It  well  illustrates  the  sumptuous  style  of  Veronese  and  is 
in  itself  a school  of  art  where  every  quality  of  the  master  is 
seen  to  perfection.  It  is  a delightful  feast  for  the  eye — a gor- 
geous color  treat  to  linger  long  in  the  memory. 

75. 

ST.  HELENA’S  VISION. 

National  Gallery,  London. 

The  Vision  of  St.  Helena  is  a Veronese  widely  different  in 
subject  and  treatment.  There  is  here  none  of  that  wonderful 
display  of  magnificently  brocaded  stuffs,  priceless  jewels  or  elab- 


90 


orate  architectural  ornamentation  that  mark  this  artist’s  large 
canvases,  but  rather  a tone  of  subtle  refinement  which  would 
not  be  enhanced  by  any  elaboration  of  costume  or  setting. 

The  saint  is  sleeping  on  a marble  window  seat  in  the  lim- 
pid sunshine  of  Venice  in  a graceful,  relaxed  attitude  which 
seems  more  natural  than  mystical;  through  the  open  window 
two  cherubs  are  seen  bearing  in  their  arms  the  sacred  cross.  St. 
Helena  was  the  mother  of  Constantine  the.  Great  and  her  vis- 
ion, says  the  legend,  enabled  her  to  recover  the  true  cross — the 
holy  symbol  by  which  her  son  was  to  conquer.  At  her  request 
Constantine  built  a basilica  in  Jerusalem  over  the  spot  where 
the  cross  was  found.  Though  not  to  be  compared  with  his 
more  splendid  compositions  the  picture  reveals  the  wonderful 
quality  of  the  artist’s  light  in  all  its  transparent  fullness  and 
purity. 

Veronese  found  the  Kenaissance  at  its  height,  and  left  it 
there  when  he  laid  down  his  brush  after  forty  years  of  almost 
incessant  work. 


91 


Decline  of  Italian  Art 


The  Mannerists.  The  Eclectics. 

By  the  middle  of  the  sixteenth  century  art  had  reached  its 
culmination  in  Florence  and  Rome.  By  the  end  of  the  century 
Venetian  art  which  survived  a little  longer,  attained  its  greatest 
glory;  the  great  movement  of  the  Renaissance  in  Italy  now 
came  to  an  end.  Art  had  typified  in  form,  thought  and  ex- 
pression everything  of  which  the  Italian  race  was  capable.  The 
men  of  great  minds,  capable  of  glorious  achievements  had  come 
and  gone ; for  those  who  came  after  Michael  Angelo  and  Tintor- 
etto there  was  nothing  left  except  to  repeat  what  others  had 
done  or  to  re-combine  old  thoughts  and  forms. 

This  led  to  the  imitation,  exaggeration  and  sentimental 
superficiality  of  the  latter  part  of  the  sixteenth  and  the  first 
of  the  seventeenth  century  as  exemplified  in  the  schools  of  the 
Mannerists  and  Eclectics  who  sought  to  combine  all  the  excel- 
lencies of  the  greater  masters.  They  lost  all  inspiration  in  the 
attempt,  and  signally  failed.  Since  the  climax  of  the  Renais- 
sance, even  down  to  the  present  century,  there  has  been  little 
in  Italian  art  that  showed  a positive  national  spirit. 

BAROCCIO. 

1528-1612. 

Umbrian. 

In  following  Renaissance  progress  in  Italy  from  its  in- 
fancy to  its  maturity,  one  is  sensible  of  a gradual  change  in  the 
geheral  trend  of  art  after  the  year  1500.  As  artists  have  be- 
come more  and  more  concerned  with,  and  have  perfected  the 
representation  of  material  things,  they  seem  to  have  grown 
away  from  the  faith  of  their  early  days.  As  art  gained  in 


92 


beauty,  it  lost  in  spontaneity,  sincerity  and  spirituality.  By 
the  last  of  the  fifteenth  century  the  chief  motive  was  no  longer 
the  teaching  of  religious  truth,  but  largely  to  show  beauty  of 
form,  line  and  color;  religious  subjects  were  still  retained,  but 
pictures  must  now  be  beautiful  in  themselves  regardless  of 
theme;  pictorial  splendor  and  perfection  of  form  were  reached 
but  the  spirit  was  gone.  The  constant  striving  for  sensuous 
beauty,  an  over-zealous  care  for  refinement  of  style  and  finish 
to  the  neglect  of  high  ideals,  resulted  in  the  affectation  and 
mannerism  which  finally  led  to  decline. 

Baroccio,  who  belongs  to  the  period  of  the  Decadence,, 
was  one  of  the  strongest  of  the  so  called  Mannerists.  He  left 
some  good  work  but  much  of  it  is  weak  and  affected  in  senti- 
ment. 


76. 

OUR  LADY  OF  THE  CAT. 

National  Gallery,  London. 

Baroccio  is  given  place  in  the  collection  because  this 
Madonna  affords  a particulai’ly  instructive  example  of  the 
change  that  has  taken  place  in  sentiment  and  motive  in  art. 
The  Madonna  was  long  held  as  too  sacred  a subject  to  permit 
of  realistic  treatment.  Art  was  slow  to  presume  further  upon 
the  closer  human  relations  brought  about  by  the  pastoral 
setting,  and  the  Madonna  as  a domestic  subject  was  hesitating- 
ly adopted.  The  northern  painters,  with  their  strong  home 
instincts,  naturally  led  the  way,  but  the  Madonna  in  a home 
environment  has  been  very  rarely  treated. 

Here,  in  place  of  the  exalted  spirituality  of  foimer  Madon- 
nas, the  Virgin  is  represented  as  expressly  directing  the  atten- 
tion of  the  Infant  Christ  toward  the  cat,  while  Joseph  and  the 
little  St.  John  look  on  with  evident  interest  and  amusement. 
The  successive  steps  toward  decline  in  the  last  one  hundred 
years  can  be  clearly  traced  by  comparing  this  work  with  the 
conceptions  of  Perugino,  Raphael  and  Correggio.  With  the 
former  the  motive  is  wholly  religious,  with  Raphael  it  is 
intermingled  with  artistic  beauty.  Correggio’s  motive  is  to 


93 


represent  innocent  loveliness  and  grace,  Baroccio  in  this 
instance  uses  his  skill  to  represent  the  Holy  Family  tantalizing 
a cat  with  a bird.  The  picture  is  tender  and  is  beautifully 
painted  in  all  its  details,  but  even  Cimabue’s  crude  Virgin  gives 
more  suggestion  of  religious  feeling. 

Baroccio  was  a devout  man  and  has  never  been  reproached, 
save  in  this  instance,  with  “unbecoming  levity”  in  things  holy. 

GUIDO  BENI. 

1575-1642. 

Bolognese. 

The  most  noted  artist  of  the  school  of  Eclectics  \yas  Guido 
Beni.  He  produced  some  painting  of  merit  and  was  extremely 
popular,  but  contented  himself  with  being  a mere  reflector. 
Like  most  artists  of  this  period,  he  finally  became  weak,  senti- 
mental and  superficial. 


77. 

THE  AUBOBA. 

Bospigliosi  Palace,  Borne. 

One  of  the  most  popular  pictures  in  Borne  is  the  fresco 
of  The  Aurora  on  the  ceiling  of  the  Bospigliosi  Palace.  It  is 
not  all  that  might  be  desired  in  drawing,  unity  of  pose  or 
expression,  and  there  are  many  greater  pictures  in  the  old  city 
much  more  deserving  of  popularity.  It  represents  the  car  of 
the  sun-god,  Apollo,  about  which  dance  the  hours ; Aurora  her- 
self sails  before  them  scattering  flowers  upon  the  sleeping 
world.  A cherub  bearing  a flaming  torch  personifies  the 
morning  star,  below  lies  the  earth  partially  obscured  in  shadow. 
Decorative  in  design,  admirable  in  the  grace  and  rhythmic 
movement  of  the  figures,  it  is  accounted  the  best  work  of  the 
period.  The  soft-toned  reproductions,  however,  are  often  more 
pleasing  than  the  original  which  is  very  high  in  color. 


94 


RUBENS. 

1577-1640. 

Flemish. 

The  full  tide  of  painting  had  lasted  in  Italy  from  Leon- 
ardo to  the  passing  of  the  great  Venetians.  It  now  recedes 
from  her  shores,  sweeps  northward  and  westward,  rising  rapidly 
within  and  about  the  borders  of  Spain  and  the  Netherlands. 
Following  the  course  of  its  flow  to  Flanders  the  high  water 
mark  is  found  to  be  reached  here  with  Rubens.  After  the 
death  of  Memling,  through  the  succeeding  sixteenth  century 
the  characteristics  of  the  Flemish  School  were  lost  in  the  adop- 
tion and  injitation  of  Italian  methods. 

The  seventeenth  century,  the  great  period  of  Flemish 
painting  was  made  famous  by  the  master  genius  Rubens, 
Although  he,  too,  followed  Italian  methods,  his  painting  was 
distinctly  northern  in  character  for  his  art,  more  material  than 
spiritual,  lacked  poetic  sentiment,  tender  feeling  and  idealistic 
conception.  His  types  were,  in  general,  fleshly,  gross,  often 
coarse,  yet  full  of  the  exuberance  of  animal  spirits  and  always 
glowing  with  magnificent  color.  Rubens  was  an  all-around 
artist  who  enjoyed  one  of  the  most  successful  art  careers  ever 
known;  he  was  also  the  dominating  figure  of  his  century  with 
all  the  artists  of  his  day  more  or  less  his  disciples. 

78. 

CHAPEAU  DE  FAILLE. 

National  Gallery,  London. 

The  name  The  Straw  Hat,  has,  for  some  reason,  been  given 
to  this  picture  although  the  material  of  the  hat  in  question  is 
really  not  straw  at  all,  but  felt.  The  painting  is  very  noted ; par- 
ticularly on  account  of  certain  cool  shadows  of  reflected  light 
which  have  been  the  despair  of  later  imitators. 

This  wonderful  portrait  resulted  in  a great  triumph  for 
the  artist  over  the  difficult  problem  of  painting  a face  under 
the  shadow  flung  over  it  by  a large  hat,  keeping  at  the  same 
time  such  clear  brilliant  tones.  The  work  is  charming  in  this 
respect  and  is  unquestionably  entirely  by  the  masters  own 


95 


hand.  This  canvas  of  Rubens  inspired  Madam  Le  Brun  to 
the  painting  of  the  familiar  portrait  of  herself  in  a straw  hat, 
where  she  stands  bathed  in  sun-light,  her  palette  in  her  hand. 

79. 

CHILDREN  WITH  GARLANDS  OF  FRUIT. 

Alte  Pinakothek,  Munich. 

Among  the  many  examples  of  Rubens  in  the  Pinakothek, 
Munich,  is  found  this  charming  group,  one  of  his  most  pleas- 
ing and  popular  canvases.  The  children  are  natural  and  inno- 
cent, the  coloring  subdued,  the  flesh  much  less  grc^  than 
is  usual  with  this  painter.  True  to  Rubens’  type  the  animated 
little  creatures  are  glowing  with  life  from  the  tips  of  their  toes 
to  the  crown  of  their  curly  heads.  It  is  an  original,  extremely 
happy  conceit  and  the  artist  has  been  most  successful  in  trans- 
ferring it  to  his  canvas.  These  rougish  kleine  Kinder  are  hav- 
ing a fine  frolic  with  their  big  garland  of  foliage  and  fruit. 

80. 

JESUS  AND  SIMON. 

Hermitage  Gallery,  St.  Petersburg. 

While  this  work,  as  is  often  the  case  with  Rubens,  presents 
an  aftective  pattern  in  light  and  shade,  as  a conception  of  a 
religious  subject  it  conveys  no  suggestion  of  spiritual  feeling. 

The  New  Testament  story  of  Christ  in  the  house  of  Simon 
the  Pharisee  is  found  in  the  gospel  of  St.  Luke.  The  Christ 
sits  at  the  right,  the  voluptuous  form  of  the  Magdalen  bends 
over  his  feet  wiping  them  with  her  hair,  the  alabaster  box  of 
costly  ointment  stands  beside  her.  In  the  background  are 
figures  bearing  baskets  of  fruit  and  game.  Gathered  about  the 
table  are  varied  types,  coarse,  bestial,  shrewd,  avaricious,  with 
their  several  characteristics  skillfully  portrayed. 

The  power  of  composition  and  pictorial  effect,  superb  with 
Rubens,  is  effectively  shown. 


96 


81. 


DESCENT  FROM  THE  CROSS. 

Cathedral,  Antwerp. 

Rubens’  most  famous  work,  the  glory  of  the  Flemish 
School,  and  one  of  the  most  noted  pictures  of  the  world,  ls  the 
Descent  from  the  Cross,  the  center  panel  of  an  altarpiece  w'hich 
hangs  in  the  Cathedral  at  Antwerp.  It  instantly  attracts  the 
eye  by  its  decorative  masses  of  color,  its  rhythmic  sweeping  lines 
and  masterly  concentration  of  attention  toward  the  center. 

The  work  contains  nine  figures ; two  workmen  at  the  top  of 
the  cro^  are  lowering  the  body  of  Christ  by  means  of  a winding 
sheet  which  one  of  them  holds  in  his  teeth,  the  other  grasps  it 
with  his  left  hand;  leaning  over,  they  steady  the  form,  while 
John  with  one  foot  on  the  ladder,  supports  its  weight.  Mary 
Magdalene  holds  the  feet  of  Christ;  behind  her  is  the  other 
Mary;  above  the  latter  with  arms  uplifted,  is  Maiy  the  Mother. 
The  two  remaining  figures  are  Joseph  of  Arimathea  and  Nico- 
demus.  The  Christ  is  one  of  the  finest  figures  of  the  kind  in 
art,  perfectly  drawn  in  an  attitude  most  difficult  to  represent. 
The  sky  is  appropriately  gloomy,  the  deep  shadows  at  the  sides 
and  on  the  bodies  of  the  attendants,  aid  in  intensifying  the 
light  which  is  concentrated  upon  the  center,  flecks  of  it  as 
it  were  falling  upon  the  faces  of  the  group.  A secondary  light, 
seemingly  from  above,  falls  upon  the  shouldei’s  of  the  work- 
men. 

In  a most  masterly  wa3^  Rubens  has  concenti'ated  his  forces 
toward  the  head  of  Christ ; the  lines  of  the  arms,  the  gaze  of  the 
attendant  figures  are  directed  tow’ard  the  Saviour’s  face — the 
focus  point  of  the  composition.  The  maiwelously  rendered  con- 
trast between  the  limpness,  the  heaviness  of  death  and  the 
strong,  living  forms  adds  immeasurably  to  the  effectiveness  of 
the  picture.  In  his  management  of  light  and  shade,  his 
arrangement  of  lines  and  figures,  the  artist  has  built  up  a mag- 
nifieent  composition — a work  of  profound  emotional  im.pi'es- 
siveness. 


97 


VAN  DYCK. 

1599-1641. 

Flemish. 

The  greatest  of  all  the  pupils  of  Rubens  was  Anthony  Van 
Dyck,  an  artist  who  acquired  special  fame  as  a brilliant  portrait 
painter  particularly  of  royalty  and  nobility.  He  went  to  Eng- 
land at  the  invitation  of  Charles  I,  and  his  most  famous  por- 
traits are  of  that  king  and  his  family.  His  work  shows  even 
more  than  that  of  Rubens,  the  effect  of  Italian  influence.  It  is 
more  charming  in  color,  if  not  so  splendid,  is  also  marked  by 
greater  reflnement  of  feeling,  but  in  scope  of  invention  and 
force  of  represeptation  it  fell  below  his  masters. 

Among  the  masters  of  the  world  Van  Dyck  is  accorded  a 
place  neither  with  the  highest  nor  the  lowest;  he  stands  apart, 
quite  by  himself.  In  portraiture,  however,  he  ranks  as  the 
greatest  painter  of  the  aristocratic  people  of  his  day. 

82. 

CHILDREN  OF  CHARLES  I. 

Royal  Gallery,  Dresden. 

Few  pictures  have  been  more  popular  than  Van  Dyck’s 
representations  of  the  Children  of  Charles  I.  The  “Baby 
Stuart”  portrait  so  frequently  seen  is  taken  from  the  picture  in 
the  Turin  gallery;  here,  in  the  Dresden  painting  the  “Baby” 
seems  a little  older,  but  is  almost  equally  charming.  The 
innocent  face  of  the  little  Duke  of  A^ork  as  he  stands  between 
his  brother  Charles  (afterward  Charles  II.)  and  his  sister.  Prin- 
cess Mary  (afterward  the  mother  of AVilliam  HI.  of  England) - 
gives  no  hint  of  the  ignoble  qualities  which  later  developed  in 
his  nature.  At  sixteen  he  witnessed  the  execution  of  his  father ; 
when  fifty-two  he  succeeded  to  the  throne  and  as  James  II.  of 
England  his  record  is  by  no  means  an  enviable  one.  Van  Dyck 
has  composed  a charming  group  for  the  enjoyment  of  child 
lovers.  The  costumes  of  his  time  were  most  favorable  to  the 
beauty  of  his  art;  the  style  of  collar  worn  by  Prince  Charles 


98 


was  painted  so  often  by  the  artist  that  it  has  received  his  name 
and  is  known  as  the  Van  Dyck  collar  to  this  day. 

The  painter  has  admirably  represented  the  innocence  of 
childhood  in  these  charming  children,  yet  just  as  admirably 
given  them  the  distinction  of  inherited  royalty.  One  might, 
perhaps,  find  a suggestion  of  the  burden  of  this  inheritance 
reflected  in  their  serious  little  faces.  The  expression,  the  pose, 
the  gorgeous  dresses  of  rich  silk  and  satin  are  all  in  keeping 
with  their  birth  and  station ; even  the  dogs  are  in  harmony 
with  their  surroundings  and  evidently  feel  the  dignity  of 
their  position — they  are  posing  quite  as  dogs  should  who  belong 
to  royal  master  and  mistress. 

83. 

MARIE  LOUISE  OF  TASSIS. 

Liechtenstein  Gallery,  Vienna. 

Van  Dyck  took  particular  delight  in  portraying  the  fash- 
ionable court  ladies  of  his  day.  Their  costumes  lent  them- 
selves admirably  to  artistic  representation  and  furnished  him 
opportunity  to  exercise  his  facile  brush.  The  elaborate  gown 
of  Marie  Louise  is  wonderfully  worked  out  in  all  its  details ; 
the  voluminous  sleeves,  the  ruff,  the  downy  fluffiness  of  the 
fan,  even  every  pearl  has  received  the  utmost  care. 

The  lady  in  question  has  been  accused  of  vanity  in  the 
display  of  an  unusual  variety  of  jewels,  but  the  vanity  is  quite 
as  likely  to  have  been  on  Van  Dyck’s  part,  as  he  was  notor- 
iously fond  of  showing  off  beautiful  jewels  and  beautiful  hands. 
There  is  a surprising  amount  of  character  in  hands,  but  the 
great  masters  of  portraiture  often  failed  to  pay  attention  to  the 
intimate  correspondence  of  feeling  between  this  feature  and 
the  head.  Van  Dyck  seems  to  have  given  thought  to  it  in  this 
instance.  The  curl  of  the  lady’s  forefinger  echoes  with  extraor- 
dinary subtlety  the  curious  slanting  glance  of  her  eyes. 

Like  just  the  right  bit  of  harmony  as  an  accompaniment 
for  the  voice,  this  seemingly  insignificant  item  has  much  to 
do  with  the  perfect  effect  of  the  whole  picture. 


99 


84. 


PORTRAIT  OF  CHARLP:S  L 
Louvre,  Pai-is. 

Van  Dyck  perhaps  nowhere  has  shown  keener  i:>erietration , 
than  in  his  delineation  of  the  character  and  personality  of  this 
fascinating  ruler  who  could  do  all  things  well  except  to  rule. 
None  of  the  kingly  appurtenances  of  costume  or  accessories  ai'e 
needed  for  label ; the  noble,  courtly  bearing  of  the  king  clearly 
proclaims  his  rank.  His  appearance  suggests  refinement  rather 
than  strength  perhaps,  too,  more  taste  and  elegance  than  wis- 
dom. On  the  face  there  rests  just  a shadow  of  trouble  past  and 
to  come,  which,  read  by  the  light  of  history,  seems  like  a reve- 
lation of  the  future. 

The  king  is  represented  in  a picturesque  costume,  his 
horse,  a magnificent  animal,  is  held  by  a page;  farther  back 
is  a second  attendant  holding  a cloak.  The  picture  is  well 
worth  study  for  its  exquisite  workmanship  and  detail.  Critics 
claim  that  it  is  not  sitrpassed,  if  it  be  equalled^b}^  any  work  of 
the  master. 

85. 

WILLIAM  II.  OF  NASSAU. 

Hermitage  Galler}^,  St.  Petersburg. 

If  the  face  is  an  index  to  the  character  this  handsome 
young  prince  must  have  possessed  exceptional  qualities.  He 
has  a wonderfully  frank,  winning  countenance ; a noble,  digni- 
fied bearing  which  bespeaks  his  training  in  a high  school  of 
manners.  Although  the  eye  may  be  tempted  to  wander  for 
a moment,  to  examine  the  details  of  costume,  and  acce®ories 
so  beautifully  worked  out  by  Van  Dyck,  it  always  returns  to 
and  is  held  by  the  unusually  attractive  face. 

William  II.  of  the  reigning  house  of  Nassau,  was  the  son 
of  Frederic  Henry  and  himself  left  one  son  who  became  the 
most  famous  man  of  his  race,  William  III.  of  Holland  and 
England.  The  air  of  refinement  and  distinction  felt  in  this 
work,  is  particularly  t}q)ical  of  Van  Dyck. 


100 


Spanish  Painting. 


It  is  not  until  the  fifteenth  century  that  the  history  of 
Spanish  art  begins  to  emerge  into  cletmiess.  The  Spaniai'ds 
were  a proud,  paasionate  race  dominated  by  an  almost  fan- 
atically fervent  and  somber  religion ; their  early  art,  therefoi’e, 
was  gloomy  and  morose,  reflecting  ecclesiastical  domination 
and  the  spirit  of  the  Inquisition.  The  constant  travel  between 
Spain,  the  Netherlands  and  Italy  gave  sixteenth  century  artists 
the  methods  of  both  the  North  and  the  South,  but  Italian  art 
had  reached  its  period  of  supreme  achievement  and  was  well 
along  the  path  of  decadence  before  distinctly  Spanish  methods, 
founded  on  nature,  came  forcibly  to  the  front. 

The  High  Renaissance  of  Spanish  art  was  reached  in  the 
seventeenth  century  with  Velasquez  and  Murillo;  after  the  pass- 
ing of  these  artists  there  was  a rapid  decline;  throu^  the 
eighteenth  century,  there  was  no  work  of  great  importance 
until  Goya,  who  effected  a partial  restoration  of  painting;  after 
him  French  methods  were  followed  until  in  the  nineteenth 
century  a new  advance  was  made  with  Fortuny. 

Later  artists  have  come  forward  who  are  reviving  with 
much  originality  and  force  the  ancient  pictorial  supremacy  of 
their  country. 

VELASQUEZ. 

1599-1660. 

Spanish. 

Only  some  twenty-two  years  later  than  in  Handers,  the 
art  of  painting  reached  its  high  tide  in  Spain.  Here  it  was 
with  Velasquez,  one  of  the  few  Spanish  artists  w^ho  was  enabled 
to  shake  off  the  yoke  of  the  Church.  The  methods  of  Italy 
had  been  freely  imitated  in  Spain  until  the  advent  of  this 


101 


master,  with  whom  Spanish  art  took  upon  itself  a decidedly 
naturalistic  and  national  stamp. 

Velasquez  was  not  only  one  of  the  finest  of  portrait  paint- 
ers but  a most  original  genius;  the  world  is  indebted  to  him 
and  to  the  realistic  Dutchmen,  for  a new  principle  of  harmony 
which  depended  upon  the  action  of  light.  In  Raphael  one 
admired  the  harmony  produced  by  the  rhythm  of  line  and 
movement ; in  Rubens  that  produced  by  the  emotional  and 
imaginative  use  of  artificial  light  and  shade.  With  Velasquez, 
a new  motive  appeared.  Artists  had  begun  to  look  at  things 
from  a new  point  of  view ; they  now  endeavored  to  paint  the 
real  appearance  of  objects  enveloped  in  nature’s  light  and 
atmosphere,  to  draw  all  parts  of  a composition  together  by 
means  of  the  lighting. 

Velasquez  and  Hals  exerted  a great  infiuence  not  only 
over  the  artists  of  their  time,  but  over  modern  art;  for  our 
own  painters  today  have  gone  back  to  the  example  of  those 
pioneers  who  discovered  the  possibilities  and  effects  of  lighted 
atmosphere. 

86. 

MAIDS  OF  HONOR. 

Prado  Gallery,  Madrid. 

In  spite  of  the  difficulty  of  making  an  artistic  picture  out 
of  the  almost  impossible  materials  fashion  prescribed  in  the 
matter  of  costume  the  Maids  of  Honor  is  a very  famous  work. 

It  represents  a room  in  the  royal  palace  with  the  little 
Infanta  Margarita  accompanied  by  her  maids,  her  dwarfs,  her 
dog,  a duenna  and  a courtier.  The  little  princess  has  asked 
for  a drink  of  water  and  her  maid  hands  it  to  her  with  the 
elaborate  etiquette  prescribed  by  the  rigidly  ceremonious  Span- 
ish court.  To  the  right  of  the  picture  are  the  dwarfs,  to  the 
left  Velasquez  standing  near  a huge  canvas,  brush  in  hand; 
in  the  background  are  other  attendants ; on  the  wall  is  a mirror 
in  which  is  reflected  the  king  and  the  queen.  The  former  who 
was  sitting  for  his  portrait  when  the  Infanta  and  her  suite 
came  into  the  studio,  was  so  delighted  with  the  scene  that  he 


102 


commissioned  the  painter  to  reproduce  it,  hence  this  master- 
piece— which  actually  represents  the  little  room  in  the  Prado  in 
which  it  now  hangs  alone,  its  position  chosen  with  an  eye  to 
obtaining  the  best  possible  effect. 

It  beautifully  illustrates  Velasquez’s  new  principle  of 
representing  light,  as  well  as  the  momentary  impression  the 
scene  produced  upon  his  mind.  The  light  evidently  comes 
from  a window  at  the  right  enveloping  the  quaint  figures  in 
their  stiff,  ungainly  costumes,  penetrating  even  the  corners 
and  striking  faintly  on  the  ceiling.  The  little  Princess  her- 
self in  her  white  satin  frock  is  the  center  of  all  this  radiance ; 
from  her  it  gradually  tones  down  from  one  figure  to  another 
until  it  finally  disappears  in  the  background.  The  effect  of  a 
large  room  filled  with  figures,  light  and  atmosphere  is  very 
real. 

87. 

THE  TOPERS. 

Prado  Gallery,  Madrid. 

The  Topers,  probably  a parody  of  some  mythological  story, 
represents  a drinking  scene  with  nine  life-size  figures.  The 
center  one,  a country  youth  masquerading  as  Bacchus,  is  seat- 
ed on  a barrel  distributing  wreaths  of  vine  leaves  to  his  devoted 
worshippers,  one  of  whom,  an  old  soldier  (whose  costume 
indicates  that  he  probably  learned  to  drink  in  Flanders) — is 
kneeling  before  him.  The  rites  of  Bacchus  worship  seem  to 
have  plunged  the  company  into  various  stages  of  intoxication. 
The  first  to  the  right  has  indulged  just  enough  to  be  jovial, 
the  next  looks  inclined  to  be  quarrelsome  on  slight  provocation 
while  the  one  in  front  with  the  cloak  has  evidently  reached  a 
state  of  vacant  stupidity.  Each  figure  is  a model  in  handling 
and  expression. 

The  work  suggests  one  of  the  spicy  stories  the  haughty 
Castilians  sometimes  delighted  in  hearing  as  a diversion  from 
their  habitual  gravity. 


103 


88. 


THE  SURRENDER  OF  BREDA. 

Prado  Galler^^,  Madrid. 

It  is  said,  there  are  few  like  Velasquez  in  rendeiing  tlie 
human  figure  singly  or  in  groups,  as  there  are  few  like  him  in 
rendering  the  subtlety  of  light  and  atmosphere.  This  impor- 
tant work  gives  proof  of  the  truth  of  the  statement.  The 
composition  is  original  and  striking  to  the  last  degree.  A lesser 
genius  than  Velasquez  would  never  have  ventured  on  the  line 
of  tall  speai's  that  rise  almost  to  the  very  top  of  the  canvas  on 
the  light.  But  the  success  of  this  startling  arriingement  is  so 
obvious  that  from  it  the  picture  takes  its  popular  name,  “The 
Lances.’’ 

It  represents  the  last  of  Spain’s  important  victories,  the 
capture  in  1625  of  the  Dutch  stronghold  of  Breda,  by  Spinola, 
the  last  of  her  great  captains.  Tlie  two  generals,  accompanied 
by  their  body  guards  have,  met  and  alighted  from  their  hoises; 
Prince  Justin  of  Nassau  is  giving  up  the  keys  of  the  fortress  to 
his  conqueror  Spinola,  who  puts  his  hand  familiarly  on  his 
enemy’s  shoulder  as  if  to  mitigate  his  humility.  The  groups 
of  fully  armed  officers,  the  marching  troops,  the  forest  of  lances 
stretching  away  beyond  them  with  the  ruined  buildings  and 
burning  town  in  the  background,  sum  up  the  horrors  of  war  in 
a most  realistic  manner.  The  surrender  of  Breda  ranks  as  one 
of  the  most  famous  of  histoiical  compasitions. 

MURILLO. 

1618-1682. 

Spanish. 

After  Velasquez,  one  always  turns  to  Murillo  as  the  con- 
temporary and  second  figure  in  Spanish  ail.  The  work  of 
these  two  artists  was  widely  different,  but  each  c^anied  the  spe- 
cial style  he  had  chosen  to  the  height  of  perfection.  The 
former  became  the  companion  and  painter  of  royalty,  the  later 
devoted  himself  to  the  seiwice  of  religion. 

Murillo  did  not  attempt  intellectual  or  serious  composi- 
tions ; he  painted,  he  said,  “for  the  |>eople  of  his  own  day,  not 


104 


for  posterity/^  By  his  time  the  Inquisition  had  passed  away, 
sentimental  devotion  replaced  fanaticism,  and  his  people  were 
returning  to  a natural  joyous  life.  Murillo,  therefore, 
portrayed  a more  picturesque,  emotional  type  of  religion — 
painted  pictures  which  would  show  and  further  this  happy 
change,  A devout  man,  he  devoted  himself  to  a type  of  relig- 
ious idealism  represented  by  dreamy  mysticism  or  ecstatic  vis- 
ions, and  suited  his  style  to  his  subjects.  His  excessive  ferwor 
sometimes  led  him  near  to  sentimentality ; as  a result  his  later 
works  are  characterized  by  uncertain  outline,  a soft,  melting 
almost  confused  mingling  of  colors.  He  struck  liis  strongest 
note  in  his  beggar  bo}^  groups. 

Murillo  was  the  idol  of  his  countrymen  and  is  probably 
one  of  the  most  popular  artists  with  the  masses  today. 

89. 

THE  CHILDREN  OF  THE  SHELL. 

Prado  Gallery,  Madrid. 

In  the  Children  of  the  Shell  Murillo  has  chosen  for  his 
subject  the  familiar  one  of  the  Infant  Christ  and  St.  John. 
The  latter  is  represented  with  his  cross  of  reeds,  around  which 
is  twisted  a scroll  bearing  the  words  in  Latin — “Behold  the 
Lamb  of  God,”  the  application  of  which  is  illustrated  by  the 
introduction  of  the  lamb.  In  these  symbols  Murillo  still 
adheres  to  church  tradition,  but  otherwise  his  representation  is 
an  idealized  one.  His  renderings  of  child  life  are  always  most 
happy ; the  Christ  Child  invariably  possesses  a charming  mix- 
ture of  divine  and  human  expression. 

This  work  is  typical  of  the  artist  in  conception,  sentiment 
and  coloring.  These  ideal  children  are  among  the  most  beauti- 
ful he  ever  painted.  Their  little  bodies  are  bathed  in  the  soft, 
vaporous  light  that  was  a product  of  Murillo’s  own  imagination. 

90. 

I.MMACULATE  CONCEPTION. 

Prado  Gallery,  Madrid. 

In  the  subject  of  the  Immaculate  Conception,  perhaps 
no  artist  has  excelled  Murillo.  Surely  with  no  one  was  it  a 


105 


greater  favorite,  for  he  is  said  to  have  painted  twenty  represen- 
tations. This  particular  example  is  one  of  the  most  noted. 

The  Virgin,  represented  in  the  clouds  with  her  feet  resting 
on  the  crescent  moon  is  a beautiful  youthful  figure  surrounded 
by  a fiood  of  wondrous  golden  light.  Above  and  below,  half 
revealed,  half  concealed  are  her  celestial  attendants — a host  of 
exquisite  cherubs  who  hover  and  sport  among  the  clouds,  add- 
ing greatly  to  an  effect  of  almost  ethereal  delicacy. 

One  is  scarcely  conscious  of  exalted  spirituality  in  Muril- 
lo’s pictures,  still  less  of  sublimity  of  conception,  but  there  is 
“a.  reverential  tenderness,  an  intrinsic  humanness”  which 
appealed  strongly  to  his  own  countrymen,  and  probably  has 
endeared  them  to  countless  people  down  to  our  own  time. 

91. 

ST.  ANTHONY  OF  PADUA. 

Berlin  Gallery. 

Here  is  reproduced  one  of  Murillo’s  visions  of  a monk  or 
saint  who  is  being  visited  by  the  Christ  Child.  It  is  interesting 
to  know  in  connection  with  this  picture  that  Murillo  painted 
the  appearance  of  the  Christ  Child  to  St.  Anthony  several 
times,  each  time  making  significant  changes  in  the  composi- 
tion as  the  idea  changed  shape  in  his  poetic  imagination. 

In  this  version,  according  to  legend,  St.  Anthony  had 
retired  to  a wood  for  meditation  and  study,  when  the  Saviour 
in  the  form  of  an  exquisite  child  appeared  before  him.  Mur- 
rillo  has  pictured  the  monk  lifting  and  embracing  the  little 
Christ,  who  has  seldom  been  shown  in  more  adorable  guise 
than  here  where  he  rests  with  such  confidence  in  his  worship- 
er’s arms  and  so  lovingly  caresses  his  cheek.  About  the  picture 
are  the  fascinating  cherubs,  who  accompanied  the  Child.  The 
two  playful  ones  on  the  ground  are  delightful.  One  strongly 
suspects  they  are  the  immortalized  images  of  little  street  urchins 
who  once  played  in  ragged  contentment  in  the  streets  of  some 
old  Spanish  city.  The  dark  haired  mite  thumbing  the  saint’s 
abandoned  book  is  particularly  suggestive  of  the  Spanish  type 
of  childhood. 

The  work  is  a wonderfully  beautiful  one  in  this  artist’s 


106 


peculiar  serial  and  luminous  effect.  Murillo  so  softened  and 
brightened  Spanish  mysticism  there  is  a great  gap  between  his 
religious  pictures  and  the  ‘^fierce  meditations  and  horrible 
martyrdoms’^  of  the  earlier  Spanish  School.  This  great  school 
died  with  its  most  beloved  artist;  not  until  the  very  end  of  the 
eighteenth  century  did  Spain  produce  any  more  painters  of 
note. 


107 


Dutch  Painting^. 

In  the  same  century  that  the  Renaissance  movement  was 
achieving  results  in  Flanders  and  Spain,  Holland  began  to 
show  artistic  activity,  for  it  was  not  until  the  seventeenth  cen- 
tuiy  that  there  was  any  developed  art  in  this  country.  Hol- 
land’s early  art  was  closely  allied  with  that  of  Flanders.  The 
sixteenth  century  was  a period  of  Italian  imitation  producing 
few  painters  of  rank.  By  the  seventeenth  century,  however, 
Holland  had  gained  political  independence,  had  become  a 
Republic,  and  had  changed  her  religion  from  Catholicism  to 
Protestantism,  a change  which  had  an  impoitant  effect  upon 
her  art.  Artists  were  now  free  to  paint  that  which  most  inter- 
ested them — the  story  of  their  own  lives  and  the  aspects  of  their 
own  country ; because  of  its  being  so  distinctly  national,  Dutch 
art  has  been  called  a ‘‘portrait  of  Holland  and  its  people.” 

The  Dutch  lacked  the  imagination,  the  idealism  of  the 
Italians.  Intensely  patriotic,  intensely  practical,  absorbed  in 
the  ordinary  affairs  of  everj^  day  life,  their  inclination  and 
taste  led  them  directly  towai’d  realism;  therefore,  they  were 
little  troubled  with  ecstatic  visions,  enthusiasm  over  antique 
remains,  or  ideal  pictures  of  the  imagination.  A realistic  por- 
trait of  themselves  was  entirely  to  their  mind,  consequently 
Dutch  art  struck  off  by  itself,  became  original,  also  famous. 
Aside  from  Corporation  pictures,  as  a whole,  their  works  were 
small,  their  subjects  were  figure  pieces,  small  groups  in  inter- 
iois  and  various  scenes  portraying  their  daily  life  all  rendered 
with  remarkable  truth,  skill,  and  fine  pictorial  effect.  Dutch 
artists  were  also  among  the  first  to  give  a distinctive  character 
to  landscape. 

Dutch  art  was  never  universal  but  its  representation  of 
civic  and  domestic  life  revealed  the  characteristics  of  the  peo- 
ple and  the  time. 


108 


HALS. 

1584?-166G? 

Dutch. 

h 

Frans  Hals  is  not  only  one  of  Uie  greatest  masters  of  the 
Dutch  School,  but  one  of  the  greatest  portrait  painters  in  the 
history  of  art.  In  giving  a vital  sense  of  life  and  the  personal, 
physical  presence  of  his  sitters  he  has  never  been  excelled.  One 
of  the  greatest  masters  of  the  brush,  his  stroke  is  so  sure  and 
true,  his  rendering  so  vivid  that  his  work  is  vitalized  to  an 
unusual  degree.  It  is  distinctly  national  in  spirit  and  is  prob- 
ably the  most  characteristic  of  the  Dutch  race  and  of  the  art 
which  it  produced.  In  the  nineteenth  century  the  rediscover^' 
of  the  methods  of  Hals  and  Velasquez  produced  a revolution  in 
the  artists’  point  of  view  and  rafuiner  of  painting,  resulting  in 
the  modern  method  which  is  called  Impressionism. 

92. 

BOHEMIAN  GIRI.. 

Louvre,  Paris. 

If,  as  has  been  said,  Hals’  subjects  from  the  veiy  conta- 
gion of  sitting  opposite  him  fell  into  his  own  sunny  mood,  in 
transferring  them  to  canvas,  the  artist  has  so  vitally  reproduced 
that  reflected  mood  that  even  the  spectator  is  affected  by  it 
This  vigorous  young  woman  abounding  with  health  and  high 
spirits  looks  out  from  her  rough  tangle  of  hair  with  the  frank- 
est, most  contagious  of  smiles.  One  can  but  smile  wdth  this 
gypsy  who  evidently  finds  the  world  a jolly  place  to  live  in. 

As  usual  with  Hals,  the  workmanship  is  entirely  harmon- 
ious with  the  subject  which  was  probably  chosen  for  its  pic- 
turesque effectiveness  rather  tlian  any  moral  or  physical 
beauty.  The  head  of  this  care  free  young  Bohemian  was  evi- 
dently transferred  to  the  canvas  in  some  hour  of  rare  good 
humor  when  the  hand  and  brain  of  the  artist  were  alike  happily 
disposed.  Hals  has  immortalized  the  young  gipsy  with  the 
swift,  bold  strokes  of  his  brush. 


109 


93. 


BANQUET  OF  THE  OFFICERS  OF  ST.  HADRIAN’S 

GUILD. 

Haarlem  Gallery. 

Holland  has  always  been  noted  for  its  merchant  guilds  or 
corporations.  Early  in  the  seventeenth  century  corporation 
pictures  became  very  much  the  fashion  and  all  through  the 
country  one  finds  the  halls  filled  with  these  large  works,  in 
which  each  figure  is  a portrait  of  an  individual  member  of  the 
guild;  yet  so  clever  is  the  grouping  that  the  pictures  are  not 
only  portrait  groups,  but  figure  pieces. . . The  Banquet  of  the 
Officers  of  the  Archers  of  St.  Hadrian,  a model  of  this  style  of 
composition,  reveals  Hals  at  the  height  of  his  powers.  The 
grouping  shows  great  skill ; the  figures  are  so  turned,  the  strong 
features  of  each  face  so  emphasized  as  to  bring  out  the  varying 
dispositions  and  temperaments;  particularly  noticeable  are  the 
individual  characteristics  given  to  the  hands.  Though  filled 
with  twelve  life-size  figures  the  canvas  has  no  effect  of  over- 
crowding. 

94. 

PORTRAIT  OF  AN  ADMIRAL. 

Hermitage  Gallery,  St.  Petersburg. 

The  year  1639  was  full  of  glory  for  Holland  as  her  success- 
ive victories  over  the  Spanish  fleet  gave  her  a place  as  the  first 
sea  power  in  the  world. 

In  this  splendid  portrait  of  an  unknown  officer,  commonly 
called  an  Admiral,  Hals  has  typified  his  conception  of  the 
heroes  who  fought  for  their  native  land.  The  professional  side 
of  the  subject  was  evidently  uppermost  in  the  painter’s  mind, 
for  both  face  and  bearing  give  the  impression  of  a bold,  fearless 
sea  warrior.  There  is,  however,  a subtle  expression  about  the 
eyes  and  mouth  which  suggests  other  qualities;  a readiness  to 
accept  the  pleasures  as  well  as  the  hardships  of  life.  One  sur- 
mises the  gallant  Admiral  would  not  be  averse,  when  off  duty, 
to  spend  a merry  hour  with  jovial  companions. 


110 


95. 


THE  JOLLY  TOPER. 

Ryks  Museum,  Amsterdam. 

It  is  always  a delight  to  come  upon  a portrait  by  Frans 
Hals.  He  is  so  much  of  a magician  in  catching  momentary 
expressions  one  is  often  almost  startled  by  the  first  sight  of  one 
of  his  merry  faces. 

This  one  is  so  particularly  characteristic  of  the  master  and 
tells  its  own  story  so  frankly  no  description  is  needed.  It  is  a 
marvel  of  brush  work.  With  Hals  one  is  always  impressed 
with  the  personal  quality  of  his  technique,  dependent  upon 
and  betraying  the  mood  of  tlie  man.  Evidently  in  his  usual 
jovial  humor,  he  has  dashed  off  this  likeness  with  superb 
audacity  and  spontaneous  assurance ; each  apparent  daub  is  put 
on  Avith  such  dexterity,  Avith  such  an  unerring  eye  for  just  the 
right  place  and  effect,  one  unconsciously  partakes  of  the  artist’s 
enthusiasm  and  is  roused  to  an  active  appreciation.  Notice 
the  dashes  of  high-light  on  the  face,  the  arm,  the  hands. 
Daubs  seemingly  put  on  at  random;  yet  hOAV  forcibly  they 
bring  out  the  modeling,  the  character  of  face  and  figure  and 
shoAv  the  artist’s  wonderful  sureness  of  touch. 

Hals  had  no  formula  Avhich  he  used  indiscriminately  for 
all  subjects.  This  fact  proved  one  of  the  secrets  of  his  suc- 
cess, as  by  this  very  spontaneity  he  endoAA^s  his  figures  with  an 
intensity  of  life  that  is  extremely  telling. 

REMBRANDT. 

1607?-1689?. 

Dutch. 

The  native  art  of  Holland,  so  sudden  in  its  uprising, 
almost  immediately  reached  its  maturity  in  its  greatest  master, 
Rembrandt — one  of  the  few  great  men  who  stand  alone.  A 
man  whose  genius  can  not  be  traced  either  to  the  influence  of 
his  time,  or  to  the  work  of  his  predecessors.  His  name  has 
become  almost  synonymous  with  chiaroscuro,  a term  which 
applies  to  a method  he  used  oftener  and  better  than  any  one 
el^:^  namely — the  practice  of  immersing  and  enveloping  every- 


111 


tiling  in  a bath  of  shadow,  by  which  means  he  expressed  his 
ideas  with  supreme  emotional  effect.  He  had,  beside,  an  extra- 
ordinary technique  and  an  understanding  of  the  effects  of  light 
by  which  he  gained  a certain  luminous  quality  never  equaled, 
before  nor  since. 

He  was  both  realist  and  idealist ; in  his  unusual  manner  of 
portraying  his  idealistic  impressions  he  fore-shaaowed  the  still 
further  getting  away  from  exact  natural  representation  shown 
in  our  modem  art, — an  art  which  emphasizes  more  and  more 
the  value  of  the  individual  impression  and  interpretation  of  the 
artist.  His  influence  ivas  far  reaching  and  appeared 
immediately  in  the  work  of  his  many  pupils  who  followed  his 
methods  but  neve'^  equaled  him. 

96. 

PORTRAIT  OF  THE  ARTIST. 

Liechtenstein  Gallery,  Vienna. 

Rembrandt’s  portraits  are  everywhere  maiwels  of  art. 
There  is  a curious  suggestiveness  in  them  all,  produced  by  his 
method  of  treatment.  His  principle  in  portrait  painting  was 
to  make  the  head  the  center  of  interest  by  subordinating  the 
surroundings  into  shadow  and  suggestion,  thus  drawing  atten- 
tion to  the  soul  of  the  subject  as  expressed  in  the  face.  He 
insisted  that  all  features  were  not  of  equal  value,  that  special 
prominence  should  be  given  the  eyes  and  the  mouth.  This 
fine  example  reveals  his  wonderful  resources  of  treatment  of 
light  and  shade  for  the  purpose  of  expression ; the  gaze  is  made 
particularly  effective  and  searching  by  the  concentrated  light 
on  the  face,  the  rest  of  the  figure  being  enveloped  in  shadow. 

Rembrandt  often  painted  a mirrored  reflection  of  himself, 
forty  times  in  fact;  not  as  has  been  said  from  a feeling  of 
vanity,  but  in  order  to  enable  him  to  study  and  express  certain 
physical  emotions  and  to  facilitate  his  power  as  a draughts- 
man. 


112 


97. 


PORTRAIT  OF  THE  ARTIST’S  MOTHER. 

Imperial  Museum,  Vienna. 

Of  all  Rembrandt’s  portraits  this  makes  the  most  universal 
appeal  in  its  expression  of  kindliness,  humanness  and  simple 
sincerity.  The  attention  is  caught  and  held  by  the  sweet 
serenity  of  the  face,  yet  the  rest  of  the  figure  shows  a marvel  of 
detail  well  worth  notice.  The  correspondence  of  feeling  and 
character  between  the  head  and  the  hands,  so  necessary  a fea- 
ture to  a good  portrait,  is  brought  out  particularly  well.  One 
could  correctly  divine  the  characteristics  of  the  countenance 
from  the  tender  refinement  of  these  feeble  hands  clasped  over 
the  supporting  staff. 

Words  could  not  more  truly,  more  touchingly  reveal  the 
personality  of  this  gentle  old  lady  than  Rembrandt  s brush 
has  done.  The  artist’s  own  feeling  for  his  mother  is  evident 
in  his  loving  delineation  of  her  features. 

98. 

THE  SHIPBUILDER  AND  PIIS  WIFE. 

Buckingham  Palace,  London. 

In  the  Shipbuilder  and  his  Wife  Rembrandt  has  shown 
his  skill  in  catching  and  portraying  momentary  expressions. 
Here  is  a fine,  subtle  bit  of  character  delineation,  as  well  as  a 
glimpse  into  a home  which  reveals  much  of  the  contrasting 

natures  of  its  occupants.  . j • 

The  dreamy  shipbuilder  is  engaged  with  his  drawing, 
when  he  is  interrupted  by  his  wife  who  enters  to  hand  him  a 
letter.  Her  pose  and  expression  clearly  indicate  the  busy, 
anxious  housewife  whose  haste  to  return  to  her  duties  is  sug- 
gested by  her  retaining  clasp  on  the  door  latch.  Rembr^dt 
has  wonderfully  caught  the  preoccupied  expression  on  the  ship- 
builder’s face  as  he  was  suddenly  roused  from  his  study;  one 
is  sure  he  only  half  realizes  what  his  good  wife  is  sapng,  tor 
his  abstracted  expression  shows  his  mind  to  be  still  intent  on 

his  plans.  ^ . x* 

While  the  artist  has  cleverly  portrayed  the  contrasting 


113 


natures  of  the  thoughtful  artisan  and  his  practical  helpmate^ 
he  makas  one  distinctly  conscious  of  the  perfect  harmony  exist- 
ing between  this  fine  old  couple. 

99. 

THE  NIGHT  WATCH. 

Ryks  Museum,  Amsterdam. 

By  its  originality  of  treatment  The  Night  Watch  stands 
unique  in  the  history  of  corporation  pictures.  To  the  pre- 
eminently sober,  practical  Dutch  mind,  which  insisted  upon 
clarity  and  precision  in  all  things,  Rembrandt’s  treatment  of 
light  was  disconcerting  in  the  extreme  and  the  civic  guard 
themselves  resented  so  audacious  a divergence  from  traditional 
ideas. 

The  work  represents  Captain  Banning  Cocq  wuth  his  com- 
pany of  Musketeers  issuing  from  the  guild  house  at  a call  to 
arms.  Rembrandt  has  pictured  an  instant  of  sudden  animation. 
The  drummer  sounds  the  call  which  rouses  the  dog,  the 
ensign  shakes  loose  the  flag,  the  soldiers  pour  out  pell  mell  at 
the  sound  of  drum  taps,  in  fact  the  whole  composition  thrills 
with  life  and  movement.  In  corporation  pictures,  it  was  cus- 
tomary to  perpetuate  the  honor  of  guilds  in  portrait  groups, 
each  member  paying  an  equal  share,  in  return  expecting  a 
good  likeness  and  a good  place  on  the  canvas.  In  all  success- 
ful groups  the  principle  of  sacrifice  must  play  havoc,  and  in 
this  instance  Rembrandt  sacrificed  the  personalities  of  the 
guard  to  aesthetic  considerations;  by  throwing  the  sides  into 
shadow,  he  focused  the  light  on  a few  central  figures  thus  giv- 
ing them  a principality  of  attraction  which  resulted  so  success- 
fully for  the  picture  but  so  disastrously  for  the  rest  of  the 
guard. 

One  of  the  marvels  of  the  picture  is  the  first  impression 
it  produces.  At  first  sight  of  it  one  stands  in  breathless  amaze- 
ment receiving  only  one  supreme  impression  of  a group  of  fig- 
ures bathed  in  luminous  phosphorescent  light  and  of  mysterious 
masses  of  shadow  filled  with  half  concealed  forms.  The  later 
study  of  its  parts  causes  almost  equal  wonder.  The  work  was 
destined  to  deal  a fatal  blow  to  Rembrandt’s  reputation  for  as  a 


114 


result  of  their  disappointment  the  guards  withdrew  their  pat- 
ronage. Rembrandt’s  commissions  fell  off  from  that  time. 

DOU. 

1613-1675. 

Dutch. 

Gerard  Dou,  sometimes  classed  with  the  genre  painters, 
was  the  most  famous  of  Rembrandt’s  pupils,  yet  there  is  a 
great  contrast  between  the  work  of  the  two  men.  One  always 
thinks  of  Rembrandt  as  a most  impetuous  painter,  bold  almost 
to. the  point  of  rashness,  and  knowing  no  limit  to  his  powers; 
Dou  on  the  contrary,  was  careful,  scrupulous,  almost  ultra- 
refined.  The  master  showed  his  power  in  his  grasp  of  char- 
acter; the  disciple  was  less  concerned  with  the  character, 
thoughts,  and  feelings  of  his  sitters  than  with  the  minute  par- 
ticulars of  their  outward  appearance.  He  wasted  his  strength 
on  unimportant  details  spending  as  much  time  on  the  painting 
of  a broomstick  as  on  the  painting  of  a face  and  his  work  holds 
little  higher  place  today  than  that  of  some  of  the  lesser  men. 

100. 

THE  DROPSICAL  WOMAN. 

Louvre,  Paris. 

In  no  picture  does  the  artist  show  his  excessive  detail  work 
more  effectively  than  in  The  Dropsical  Woman  which  is  prob- 
ably his  masterpiece.  It  shows  the  interior  of  a handsome 
room  with  the  invalid  sitting  in  an  arm-chair ; beside  her  stands 
the  doctor  holding  up  to  the  light  a glass  of  liquid  which  he 
seems  to  be  examining ; behind  the  sick  woman  stands  the  nurse 
giving  medicine  to  the  patient,  the  daughter  kneels  at  the  left. 
The  title  of  the  picture  is  perhaps  somewhat  absurd,  the  cos- 
tumes and  setting  out  of  keeping  with  the  intended  pathos  of 
the  scene,  but  the  lighting  and  exact  working  out  of  details  are 
something  for  one  to  marvel  at. 

The  light  streams  in  mellow  radiance  through  the  large 
window  filling  the  room  with  an  atmosphere  that  is  almost 


115 


felt.  Even  the  shadows  ai’e  luminous  and  transparent.  The 
eye  is  drawn  to  the  chair,  back  of  the  figure  of  the  doctor,  then 
farther  into  the  room  where  is  faintly  outlined  what  seems  to 
be  a large  piece  of  carved  furniture.  Still  beyond,  the  top  and 
curtains  of  a canopy  catch  the  light.  This  treatment  gives  the 
room  an  effect  of  great  depth. 

The  play  of  light  works  wonderful  and  mysterious  toans- 
formations  in  the  aspects  of  the  most  commonplace  thin^;  a 
fact  Dou  well  knew.  The  way  he  has  led  his  lights  and 
shadows  a dance  over  the  many  contrasting  surfaces  is  a stud5^ 
All  these  varied  accessories  and  textures  are  painted  with  such 
perfection  and  in  such  exquisite  jewel-like  color,  the  picture 
fully  Justifies  the  artists  reputation  of  being  great  in  little 
things. 

POTTER. 

1625-1654. 

Dutch. 

Paul  Potter  is  the  piudigy  among  Dutch  animal  painters. 
A country’’  gentleman  with  a passion  for  nature  and  four-footed 
creatures,  he  devoted  himself  almost  entirely  to  the  painting  of 
cattle,  representing  them,  not  as  accessories,  but  as  the  principal 
feature  in  his  compositions.  Pictures  in  which  figures  and 
animals  were  introduced  played  an  important  part  in  Holland 
landscape  and  enjoyed  a popularity  next  to  genre  pictuies. 

101. 

THE  YOUNG  BULL. 

Royal  Gallery,  The  Hague. 

Recalling  the  fact  that  the  great  majority  of  Dutch  pic- 
tures were  small,  one  can  easily  imagine  that  this  immense 
canvas  with  its  figures  in  life  size  must  have  caused  something 
of  a stir  among  Potter’s  methodical  Dutch  brethren.  From  its 
unusual  size  it  required  an  unusual  treatment — an  execution 
differing  from  that  in  common  use  by  the  masters  of  genre. 
Potter  created  a system  for  himself  by  first  laying  on  the  paint 
in  broad  thick  masses ; over  this,  almost  in  relief,  he  worked  out 


116 


the  details  with  small  brushes;  by  this  method  he  achieved 
lemarkable  success,  for  the  creature  is  amazingly  realistic. 
The  glossy  pelt  seems  covered  with  actual  hair,  the  eye  Ls  bril- 
liant, the  nostrils  damp,  the  horns,  hoofs,  mouth — every  detail 
is  true  to  life. 

Either  the  artist  set  out  to  master  only  the  one  dominating 
figure  of  the  bull,  or  after  the  tremendous  task  of  completing 
it  his  enthusiasm  and  interest  abated,  for  the  rest  of  the  canvas 
is  filled  in  somewhat  mechanically.  The  other  animals  are 
wooden,  the  figure  of  the  man  tame  and  badly  drawn — in  fact 
the  work  is  chiefly  remarkable  for  the  consummately  realistic 
treatment  of  the  one  overpowering  figure. 

Potter  established  a reputation  for  himself  and  The  Bull 
became  a model  for  succeeding  artists.  As  an  exerc'ise  of  the 
brush  it  is  an  extraordinary  work. 


1J7 


The  Little  Dutchmen. 


Genre  Painters. 

The  group  of  painters  who  followed  the  great  masters, 
Hals  and  Rembrandt,  are  spoken  of  as  the  ‘‘Little  Dutchmen’’ 
on  account  of  the  small  size  of  their  pictures.  Their  art  is 
known  as  genre  painting  owing  to  its  chief  characteristic — the 
taking  of  its  subjects  from  the  small  incidents  of  every  day  life. 
These  incidents  supplied  an  excuse  for  a beautiful  arrangement 
of  color,  light  and  shade.  For  the  Dutch  though  sometimes 
illustrators,  were  seldom  moralists,  but  were  always  painters. 

They  chose  humble,  familiar  scenes  and  presented  them 
with  such  remarkable  accuracy  and  skill,  that  the  subject  was 
of  much  less  importance  than  the  manner  of  treament.  Hence 
objects  often  ugly  in  themselves  were  made  beautiful,  or  at 
least  interesting,  by  the  hand  of  these  masters  of  genre  who 
have  given  such  an  intimate  glimpse  into  the  life  of  the  home- 
loving  Dutch  people. 

METSU. 

1630-1667. 

Dutch. 

In  classing  these  “Little  Dutchmen”  according  to  their 
subjects,  Terborch  and  Dou  might  be  named  for  high  life.  Van 
Ostade  and  Steen  for  low  life,  and  Gabriel  Metsu  as  a sort  of 
go-between  with  a preference  for  drawing  room  scenes.  Metsu 
lacks  the  intellectual  grasp  of  the  greater  men,  but  is  always 
refined.  Even  in  his  scenes  from  the  kitchen  and  market,  he 
never  loses  that  delicate  touch  which  elevates  and  refines  the 
subject,  furthermore  no  man  knew  better  how  to  balance  every 
object  on  a canvas  with  more  pleasing  effect  than  he. 


118 


102. 


VIOLONCELLO  PLAYER. 

Buckingham  Palace,  London. 

In  this  characteristic  picture  by  Metsu,  the  eye  is  first 
attracted  to  the  figure  of  the  lady  descending  the  stairs  where 
she  has  paused  half  way  in  the  descent,  her  steps  evidently 
arrested  for  some  reason.  The  cause  is  found  in  the  lower  hall 
where  in  half  shadow  is  seated  a man  playing  on  a cello.  In 
an  upper  gallery  in  still  deeper  shadow  is  another  figure  listen- 
ing. The  placing  of  the  musician  in  partial  obscurity  and 
concentrating  the  light  on  the  descending  figure  is  a subtle 
touch  of  the  artist.  He  has  not  only  avoided  a common-place 
treatment,  but  made  an  appeal  to  the  imagination  through 
the  suggestion  of  melody. 

Music  was  an  important  part  of  the  home  life  in  that 
northern  country;  Metsu  and  his  brother  artists  often  used  it 
as  a subject  for  their  pictures.  This  work  is  exceptionally  fine 
in  unity  of  sentiment;  the  suggestion  of  sweet  sound,  and  the 
enjoyment  of  it,  is  most  successfully  convej^ed. 

STEEN. 

1626?-1679. 

Dutch. 

Jan  Steen  has  been  called  the  chameleon  of  Dutch  paint- 
ing— he  essayed  so  many  styles  and  suggests  the  work  of  so 
many  other  artists. 

He  is  the  supreme  delineator  of  life,  among  the  lower  mid- 
dle classes,  depicting  it  with  wit,  satire  or  coarseness  as  suited 
his  mood.  He  took  great  joy  in  humorous  characterization 
and  was  one  of  the  wittiest  delineators  of  the  follies  of  his  own 
time.  He  was  so  engrossed  in  the  story  telling  element  of  a 
subject  that  he  sometimes  neglected  its  pictorial  representation, 
but  his  artistic  deficiencies  were  atoned  for  by  his  genius  in 
other  directions.  He  possessed,  to  a remarkable  degree,  the 
rare  talent  of  painting  faces  overflowing  with  expression ; this, 
with  his  quaint  sense  of  humor,  distinguishes  his  work  from 
that  of  other  genre  painters. 


119 


103. 


FESTIVAL  OF  ST.  NICHOLAS. 

Ryks  Museum,  Amsterdam. 

It  is  said  that  Jan  Steen  had  no  studio  except  the  tavern 
or  the  ale  house;  here,  however,  he  shows  himself  equally  at 
home  in  the  family  among  the  children.  Jan  Steen  had  a 
happy  family  of  his  own  and  his  children  as  well  as  his  hand- 
some wife  Margaret  often  appear  in  his  incomparable  “family 
scenes”  of  which  the  Festival  of  St.  Nicholas  is  perhaps  the 
most  popular. 

This  festival^  which  occurs  on  December  sixth,  is  celebra- 
ted in  Holland  in  much  the  same  way  as  Christmas  Day  is 
with  us.  On  the  night  before,  children  hang  up  their  shoes 
and  stockings  and  are  rewarded  by  St.  Nicholas — the  patron 
saint  of  childhood — according  to  their  deserts.  Steen^s  repre- 
sentation is  very  graphic.  The  good  children  are  receiving  gifts 
of  candy  and  playthings,  while  the  idle  boy  finds  a rod  in  his 
shoe  and  is  ridiculed  by  his  brother  and  sister.  The  chubby 
morsel  of  humanity  in  front  who  has  appropriated  everything 
her  arms  can  hold,  is  particularly  natural  and  delightful.  Jan 
Steen’s  gift  of  portraying  facial  expression  is  shown  to  perfec- 
tion in  this  interesting  family  scene. 

DE  HOOCH. 

1630?-1681. 

Dutch. 

Pieter  de  Hooch  was  so  particularly  the  painter  of  sun- 
light he  has  been  called  a magician  whose  wand  is  the  sun. 
No  artist  in  Holland  gives  a truer  history  of  the  domestic  life 
of  the  Dutch  people  and  none  so  marvellously  paints  bright 
sunshine  as  it  streams  through  open  windows  and  doors,  glows 
upon  the  walls,  or  transforms  a gloomy  courtyard.  He  is  not 
always  skillful  in  his  representation  of  figures,  but  is  a master 
in  the  art  of  placing  them,  their  position  always  being  selected 
with  an  unerring  eye  for  decorative  effect.  Moreover  no  artist 
has  been  so  successful  in  rendering  what  every  visitor  to  Hol- 
land rarely  fails  to  observe — the  propriety  and  cleanliness  of 


120 


tile  Dutch  home  and  the  sentiment  that  seems  to  attach  to 
eTery  object  in  and  about  it. 

104. 

COURTYARD  OF  A DUTCH  HOUSE. 

National  Gallery,  Ijondon. 

The  Courtyard  of  a Butch  House — a familiar  work — is  a 
fine  example  of  this  artist’s  delightful  naturalness  in  his 
method  of  lighting  and  his  admirable  placing  of  figures. 
Instead  of  throwing  his  strongest  light  on  the  foreground, 
as  was  the  practice  with  most  Dutch  painters,  De  Hooch  usually 
paints  his  first  room  in  half  light,  back  of  this  another  room  or 
passage  leading  to  a court  is  given  in  higher  light,  in  the  court 
itself  streams  sunshine  undiluted. 

Here,  the  courtyard  which  forms  the  foregiound  is  full 
of  warm  but  not  strong  sunlight  which  falls  upon  the  yellow 
flagging  of  the  floor,  strikes  upon  the  red  bricks  of  the  wall, 
and  brings  into  relief  the  figures  of  the  woman  and  child,  who 
stand  outlined  against  the  deep  shadow  of  the  stairway  down 
which  they  have  evidently  just  passed.  At  the  end  of  the 
passage  way  in  the  background  is  another  focus  of  light 
with  a third  figure  looking  into  an  inner  court  full  of  brilliant 
sunshine.  The  artist  has  skillfully  managed  his  contrasts  and 
gained  a fine  effect,  by  placing  this  lat&  figure  in  the  lighted 
doorway. 

De  Hooch  has  ventured  to  sacrifice  his  cnuntry  woman’s 
reputation  for  neatneas  to  the  artistic  effect  and  balance  of  his 
picture,  for  no  thrifty  Dutch  housewufe  leaves  her  mop  and  pail 
in  any  such  prominence  or  disorder. 


VER  MEER  OF  DELFT. 

1632-1675. 

Dutch. 

Ver  Meer  is  one  of  the  most  charming  of  all  the  genre 
painters.  The  appreciation  of  his  art  has  increased  rapidly 
during  the  last  twenty-five  years  on  account  of  his  rare  abilit}^ 
in  rendering  light,  color  and  atmosphere.  He  is  particularly 


121 


noted  for  his  handling  of  reds,  yellows  and  blues ; as  a master  of 
the  tonal  relations  of  a picture,  he  stands  second  to  no  one.  His 
technique  has  been  spoken  of  as  “Hals  in  little” — since  it 
shows  the  same  quick  touch  and  crisp  stroke  of  the  greater 
master. 

105. 

WOMAN  WITH  A PEAPxL  NECKLACE. 

Berlin  Gallery. 


This  reproduction  shows  a peculiarity  of  Ver  Meer’s — his 
manner  of  pHcing  his  figures  in  the  very  foreground  of  his 
canvas,  cutting  off  the  upper  and  lovver  parts  of  the  room  so 
that  the  spectator  stands  directly  in  front  of  the  person  or  per- 
sons represented.  The  work  needs  to  be  seen  in  original  to  be 
appreciated.  It  is  a marvel  of  delicate  execution  and  tonal 
harmony.  The  subject — a lady  standing  before  a mirror  fast- 
ening about  her  throat  a necklace  of  pearls — is  not  particularly 
attractive.  The  lady  is  neither  graceful  nor  beautiful  in  form, 
features  or  expression.  Indeed,  were  it  not  for  the  magic  of 
Ver  Meer’s  light-tipped  brush  the  work  would  be  common-place 
enough. 

The  fascination  of  the  picture  lies  in  the  exquisite  blend- 
ing of  colors  and  in  the  marvelous  effects  of  atmosphere.  Light 
streams  in  through  a window  lighting  up  the  curtain,  falling 
upon  the  face  and  upper  part  of  the  figure,  illuminating  the 
wall  and  permeating  even  the  shadows.  There  is  a marked 
impression  of  an  open,  airy,  space  between  the  wall  and  figure. 
How  artists  get  the  feeling  of  space  and  atmosphere  between 
two  solid  bodies  is  one  of  the  fascinating  mysteries  of  their 
workmanship. 

TERBURG. 

1617?-1681 

Dutch. 


Terburg,  the  aristocrat  among  Dutch  painters, (^embrandt 
excepted, j was  devoted  to  representations  of  the  higher  class 
of  society  and  was,  perhaps,  the  best  painter  among  all  the 


122 


“Little  Dutchmen.”  His  works,  which  are  marked  by  a careful 
study  of  atmosphere  and  relation  of  objects,  often  possess  a 
delightful  sense  of  spaciousness.  His  compositions  are  small, 
most  of  them  interiors,  yet  he  knew  just  the  details  that  were 
of  the  most  importance  and  just  how  to  subordinate  all  else  in  a 
picture  to  the  center  of  interest.  He  knew,  too,  how  to  choose 
from  the  material  presented  to  him,  just  what  was  needed  to 
make  an  attractive  picture.  A painter  of  much  culture,  the 
key  note  of  his  work  is  refinement.  No  one  quite  equalled 
Terburg  in  the  rendering  of  silk,  satin  and  velvet. 

106. 

OFFICER  WRITING  A LETTER. 

Royal  Gallery,  Dresden. 

As  usual  with  Terburg,  the  subject  of  this  picture  is 
exceedingly  simple.  An  officer  seated  in  a most  natural  atti- 
tude, is  engaged  in  writing  a letter  which  his  orderly  is  waiting 
to  receive  and  carry  to  its  destination.  The  waiting  officer, 
standing  with  military  erectness  in  his  picturesque  costume, 
presents  a fine  appearance  and  his  expression  indicates  that  he 
is  not  entirely  unconscious  of  it;  but  as  the  artist  doubtless 
requested  him  to  look  his  best  on  this  particular  occasion  he 
may  be  pardoned  for  the  exhibition  of  self  admiration.  Ter- 
burg, it  is  said,  often  requested  his  models  to  come  to  him  in 
handsome  costume ; if  they  did  not  possess  one,  he  insisted  that 
they  borrow  for  the  occasion,  from  some  more  fortunate  com- 
panion. 

This  example  brings  out  some  of  Terburg’s  characteristics 
already  mentioned.  The  simpleness  of  the  interior;  the  plac- 
ing of  the  two  figures,  so  that  all  accessories  tend  to  emphasize 
the  main  thought;  the  natural,  yet  concentrated  action  of  the 
officer  writing  the  letter,  contrasted  against  the  quiet  inaction 
of  the  second  figure ; all  these  features  are  so  skillfully  handled 
by  the  artist,  that  attraction  and  dignity  are  given  to  a simple, 
common-place  subject. 


123 


TENIERS  (The  Younger.) 

1610-1690. 

Flemish. 

David  Teniers,  is  a Flemish  genre  painter  who  came  some 
years  later  than  Rubens  and  Van  Dyck.  His  work  is  closely 
allied  to  that  of  the  Little  Dutchmen  in  style,  conception  and 
treatment  and  his  pictures  will  compare  favorably  with  those 
of  Dutch  painters,  who  were  doing  their  beat  work  during  this 
period-  He  painted  almost  every  subject,  but  excelled  in 
representations  of  low  life  as  found  among  fi’equenters  of 
the  taverns.  His  scenes  are  life-like,  are  depicted  with  a 
graphic,  satirical  touch,  show  picturesque  composition,  good 
color  and  fine  technique.  There  w^as  not  an  atom  of  poetry  in 
his  nature,  but  he  was  keenly  realistic  and  could  strikingly 
depict  either  the  homely,  the  humorous,  the  \uilgar  or  the 
grotesque.  ^ 

Hia  canvases  which  are  usually  crowded  with  figures,  are 
found  in  almost  every  gallery  in  Europe,  as  he  left  an  immense 
number  of  them.  His  name  practicall}'  closes  the  art  history 
of  the  Netherlands. 

107. 

VILLAGE  DANCE  IN  A FLEMISH  INN. 

Alte  Pinakothek,  Munich. 

Teniers  was  never  more  in  his  element  than  when  he  could 
paint  a country  fair  or  fete  wdth  a crowd  of  noisy,  boisterous, 
pleasure  loving  peasants.  This  example  is  quite  in  his  favorite 
style,  though  the  mirth  is  more  restrained  and  less  boisterous 
than  in  some  of  his  similar  scenes.  The  work  is  full  of  action 
and  is  handled  with  the  artisPs  fine  sense  of  humor,  while  its 
.realism  shows  him  to  be  a true  student  of  nature.  At  this 
rustic  wedding  the  villagers,  who  are  employed  according  to 
their  varied  tastes  and  ideas  of  meny  making,  are  pictured  in 
the  artist’s  usual  humorous  and  realistic  manner. 


124 


RUISDAEL. 

1629?-1682. 

Dutch. 

The  Netherland  painters  were  probably  the  first  to  ii.se 
laudscai^  ^ a picture  motive  in  itself;  before  them  it  had  been 
principally  as  a background  for  figures.  Dutch  artists 
did  not  attempt  the  open  air  effects  of  the  moderns,  they 
embodied  in  their  works  the  character  and  spirit  of  their  owii 
countr}^  and  infused  into  them  the  qualities  of  their  own  per- 
sonalities. In  the  landscape  representations  of  these  Dutch 
painters,  can  be  traced  a two-fold  tendency ; in  one  direction  a 
note  of  simple  truthfulness  to  the  facts  of  nature,  in  the  other 
the  tincture  of  those  facts  with  a romantic  spirit. 

The  romantic,  imaginative  spirit  is  seen  in  Ruisdael,  an 
artist  whose  personality  was  akin  to  that  of  Rembrandt’s; 
th^  two  artists  strike  the  only  note  of  intense  feeling  in  th® 
Dutch  art  of  the  seventeenth  century.  A man  of  moods,  of 
poetic  feeling,  with  an  imagination  tinged  with  melancholy, 
thOTe  is  in  Ruisdael’s  work  no  matter  how  simple  the  subject, 
an  inner  sentiment  which  transfigures  the  details  into  poetry. 
He  is  usually  identified  with  scenes  of  wild  solitude,  plunging 
cataracts  and  water-falls.  This  artist  was  a man  who  felt  and 
interpreted  the  spirit  of  nature ; he  was  also  one  of  the  greats 
of  Dutch  landscapists. 

108. 

THE  MILL. 

Ryks  Museum,  Amsterdam. 

Every  landscape  painter  of  powerful  imagination  or  seri- 
ous poetic  feeling,  seems  to  have  reveled  in  the  reprt^entation 
oi  the  sky.  The  beauty  and  variety  of  the  skies  of  Holland 
were  an  inexhaustible  theme,  but  none  of  the  Dutchmen  of  the 
seventeenth  century  had  been  so  impressed  with  their  vastness, 
their  buoyant  force  or  their  pictorial  possibilities  as  Ruisdael. 

The  first  impression  as  one  looks  at  The  Mill  is  that  of  a 
vast  space  through  which  the  wind,  hushed  for  a moment,  will 
soon  be  blowing  violently.  Two-thirds  of  the  picture  is  given 


125 


to  a sky  filled  with  masses  of  dark  rolling  clouds;  their  swift 
oncoming  movement  is  so  realistically  given,  the  impression 
received  is  that  of  the  moment  of  ominous  calm  just  before  a 
storm  strikes.  The  emphatic  note  in  the  picture  is  the  huge 
upright  mill;  its  oblique  arms,  on  which  can  be  distinguished 
the  ribs,  show  that  little  air  is  stirring;  the  stationary 
figures,  the  straightened  sails  of  the  boats  with  their  perfect 
reflection  in  the  water,  add  to  the  feeling  of  momentary  still- 
ness. The  whole  arrangement  of  the  composition  shows  care- 
ful working  out  on  the  part  of  the  artist;  indeed  every  detail 
seems  to  have  its  artistic  reason  for  being  just  as  he  has  painted 
it. 

One  notices  particularly  how  greatly  the  beauty  of  the 
picture  is  increased  by  the  unobtrusive  repetition  of  each  kind 
of  line — vertical,  horizontal,  oblique  and  curved.  In  a way 
repetition  of  line  in  a picture  is  analogous  to  repetition  of 
a motive  in  music;  in  either  case  further  development  and 
added  beauty  results.  Unlike  Hobbema,  Ruisdael  has  not  been 
concerned  with  the  detailed  representation  of  the  scene,  but 
with  the  interpretation  of  his  personal  feeling  for  it.  A feel- 
ing of  the  vastness,  of  the  mighty  elemental  forces  of  nature 
speaks  strongly  from  the  canvas. 

HOBBEMA. 

1638?-1709. 

Dutch. 

Hobbema,  who  was  contemporary  with  Ruisdael  and 
probably  his  pupil,  lacked  the  imagination  of  his  master;  a 
plain,  practical  man,  he  was  content  to  paint  what  he  saw  in  a 
matter  of  fact  unimaginative  way.  Hobbema  was  such  a care- 
ful student  of  nature,  was  so  minute  in  his  representation  of 
every  twig,  leaf  and  other  detail,  that  his  somewhat  conven- 
tional method  is  often  evident.  It  was  reserved  for  the  land- 
scape painters  of  the  nineteenth  century  to  be  the  broader, 
truer  students  of  nature. 

Hobbema’s  influence  in  England,  where  most  of  his  paint- 
ings are,  was  very  marked  on  Constable  and  through  him,  on 
Erench  artists.  In  fact  the  landscape  painters  of  Holland  are 
of  particular  interest  on  account  of  the  place  they  occupy  as 


126 


forerunners  of  landscape  painting  as  developed  l)y  the  Barhi- 
zon^Cchool  in  France.  The  two-fold  tendency  of  Dutch  land- 
scape is  admirably  illustrated  by  Euisdael  and  Hobbema. 

109. 

THE  AVENUE,  MIDDELHARNIS,  HOLLAND. 

National  Gallery,  London. 

^ Ibe  approach  to  the  little  village  of  Middelharnis,  called 
file  Avenue,  is  a bit  of  portraiture  of  nature  which  forms  an 
interesting  contrast  to  “The  Mill’’  of  Euisdael.  One  is  directly 
conscious  of  the  difference  in  the  feeling  of  the  artist  toward 
nature,  a difference  noticeable  not  only  in  his  manner  of  rep- 
resentation, but  distinctly  felt  in  the  impression  produced. 
Hobbema  has  depicted  his  bit  of  country  side  with  such  accur- 
acy and  truth,  that  one  can  but  admire  the  matter-of-factness 
of  the  composition,  and  while  it  lacks  the  poetry  of  Euisdael’s 
work  one  gains  an  intimate  glimpse  of  a stretch  of  country  typi- 
cal of  the  Netherlands. 

The  center  with  its  long  vista  through  the  tall,  sparse 
trees,  would  have  resulted  disastrously  in  the  hands  of  any  but 
a master.  Hobbema  has  cleverly  managed  to  avoid  its  leading 
the  eye  directly  in  and  out  of  the  picture  by  the  curving  ruts 
in  the  road,  and  the  sharp  turn  to  the  right,  while  the  lights 
at  the  side  and  in  the  middle  distance  are  so  skillfully  placed 
that  one  is  led  to  take  in,  one  by  one,  all  the  fine  details  of  the 
work — the  canal,  the  fields,  the  figures,  the  buildings  on  the 
right  and  the  little  church  in  the  distance. 

It  is  a fine  specimen  of  Dutch  landscape  at  its  best  period 
showing  the  flat  country  and  cloudy  effect  of  sky,  always  so 
fascinating  in  Holland. 


127 


French  Painting. 


Painting  in  France  passed  through  many  phases  and  was 
long  in  developing.  Other  arts  had  reached  a high  degree  of 
perfection  before  pictorial  representation  occupied  any  import- 
ant place.  Painting  in  this  counti’y  did  not,  as  in  Italy,  spring 
directly  from  Christianity;  religious  subjects  were  used,  but 
decoration,  not  religion,  was  the  chief  motive. 

There  was  no  real  French  art  before  the  fifteenth  century ; 
even  then  foreign  methods  prevailed.  In  the  sixteenth  cen- 
tury there  were  native  painters  who  followed  Flemish  methods, 
but  after  Francis  I.  imported  Leonardo  da  Vinci,  Andrea  del 
Sarto  with  other  Italian  artists  and  established  the  Fontaine- 
bleau School,  Italian  methods  predominated.  The  seven- 
teenth century  w^as  a period  of  great  development  and  produc- 
tion and  the  time  of  the  founding  of  the  French  Academy. 
During  the  eighteenth  century,  a representative  type  of  French 
art  came  into  vogue  with  Watteau.  The  nineteenth  century, 
the  Revolutionary  period,  was  characterized  by  a return,  led  by 
David,  to  the  classic  style  of  Italy;  also  by  the  rise  of  the 
Romantic  School,  which  led  by  Delacroix,  came  forward  in 
opposition  to  the  Classic. 

The  influence  of  romanticism  was  felt  in  the  enthusiastic 
return  to  nature  study  which  resulted  in  the  Barbizon  School. 

The  latest  movement  in  France  was  impressionism ; a new 
truth  in  nature’s  aspect  discovered  by  Manet.  He  set  forth  the 
fundamental  principle  of  the  movement  when  he  (virtually) 
said  that  nature  should  not  be  painted  as  it  really  is,  but  as  it 
impr^s^  the  painter.  His  congenial  fellow  worker,  Claude 
Mi^et,  pushed  the  investigation  still  farther,  making  new  dis- 
coveries in  light  effects.  Following  his  lead,  artists  have  made 
great  advances  in  rendering  the  luminous,  vibrating,  transi- 
tory effects  of  light.  Although  still  in  the  experimental  stage, 
the  method  is  followed  today  not  only  in  France,  but  by  paint- 
ers in  most  countries  of  the  world. 


128 


CLAUDE  LORRAIN. 

16a0-1682. 

French. 

The  seventeenth  century  seems  to  have  been  an  important 
one  in  the  history  of  painting.  Taking  a general  survey  of  the 
field,  one  finds  it  is  in  this  century  following  closely  after 
Rubens  in  Flanders,  Velasquez  in  Spain,  and  the  “Little  Dutch- 
men’^ in  Holland,  that  France  swings  into  the  line  of  vision 
with  Poussin  and  Claude  Lorrain.  Poussin  was  the  founder  of 
the  classic  and  academic  art  in  France.  Claude  followed  his 
style,  differing  from  him,  however,  in  making  his  pictures  de- 
pend more  strictly  upon  landscape,  than  upon  figures ; the  clas- 
sic style  of  this  branch  of  painting  is  always  associated  with  his 
name.  He  created  ideal  scenes  in  which  natural  landscape 
classic  architecture  and  idealized  figures  were  combined  with 
great  skill.  He  excelled  in  his  representation  of  light  and 
atmosphere;  the  style  he  introduced  was  used  with  success  by 
later  artists. 

110. 

THE  MILL. 

National  Gallery,  London. 

There  is  an  old  Chinese  dictum  which  reads,  “A  picture 
should  be  a painted  poem.”  Claude  has  surely  fulfilled  the 
conditions  of  the  saying  in  The  Mill,  for  it  is  a veritable  poem 
of  atmosphere  and  golden,  shimmering  light.  One  could  walk 
among  the  trees  and  almost  feel  the  warmth  of  the  sun.  Unti^ 
Claude’s  time,  no  one  had  thought  of  painting  the  sun  except 
conventionally.  Mr.  Ruskin  says  this  artist  effected  a revolu- 
tion in  art  simply  by  setting  the  orb  of  light  in  the  heavens. 

This  landscape  represents  one  of  the  many  charming, 
secluded  spots  created  by  the  artist’s  imagination ; a very  Arca- 
dia peopled  with  ideal  creatures  who  seemingly  find  life  one 
long  holiday  of  unalloyed  pleasure.  It  is  the  outcome  perhaps 
of  his  memory  and  love  for  Italy,  the  countiy  of  enchantment 
and  light  that  had  laid  its  spell  upon  him. 


129 


WATTEAU. 

1684-1721. 

French. 

During  the  latter  part  of  the  seventeenth  century  Frencii 
ai*t  bowed  to  the  dictates  of  the  court  of  Louis  XIV.  It  reflec- 
ted the  king’s  mock  heroic  spirit,  echoed  the  fashion  of  the 
day,  became  pompous,  theatrical,  grandiloquent,  utterly  lack- 
ing in  sincerity  and  truth.  With  the  advent  of  Louis  XV,  it 
took  upon  itself  another  character  which  reflected  the  moral, 
social  and  political  France  of  the  eighteenth  century,  a century 
characterized  by  gaiety,  frivolity  and  artificiality.  Painters 
now  began  to  draw  away  from  Italian  influence,  to  mirror 
French  life,  to  develop  a quality  always  characteristic  of  French 
taste — the  decorative  quality. 

Watteau  entered  so  fully  into  the  spirit  of  his  time,  tliat  he 
is  called  the  first  purely  French  artist.  With  him  came  the 
fascinating  genre  pictures  of  court  life,  trifling  bits  of  love 
making,  fetes  or  frolics  peopled  with  beautiful  women  dressed 
in  bewitching  costumes  fashioned  after  the  style  of  the  times. 
His  w^ork  was  original  and  particularly  fitted  to  decorate  bou- 
doirs and  sitting  rooms  of  the  ladies  of  the  court.  It  was  often 
insipid,  but  was  eminently  characteristic  of  the  period. 

111. 

FETE  CHAMPETRE. 

National  Gallery  of  Scotland,  Edinburgh. 

The  Fete  Champetre,  (country  fete)  a composition  typi- 
cal of  Watteau’s  art,  represents  court  life  in  its  role  of  rustic 
simplicity  amid  Arcadian  groves.  It  is  an  idealized  landscape 
peopled  by  men  and  women  in  silken  attire  employed  in  love- 
making,  dancing  the  minuet  and  other  pastimes  of  the  pleasure 
seeker.  The  texture  of  the  costumes  is  beautifully  painted  for 
no  one  knew  better  than  Watteau  how  to  bring  out  style  and 
elegance  of  gown  and  stuff.  The  “Watteau  plait”  was  never 
m6re  gracefully  worn  by  living  figures  than  by  his  tiny  ideals, 
which  often  remind  one  of  dainty  bits  of  Dresden  china  endow- 
ed with  life. 

Like  most  of  his  works  this  is  exquisite  in  the  pattern  of 
its  composition  and  in  the  delicate  variety  of  light  and  shade; 


130 


it  shows  the  daintiest  play  of  fancy  as  well  as  the  artist’s  skill 
in  representing  vivacity  in  gesture  and  facial  expression.  Wat- 
teau unfortunately  set  a bad  example  by  his  charming  but 
unreal  representations,  for  those  who  came  after  him,  carried 
his  fancy  and  lightness  of  spirit  into  exaggeration. 

CHARDIN. 

1699-1779. 

French. 

While  most  of  the  artists  in  this  frivolous,  capricious, 
inconstant  period  were  devoting  themselves  to  representing  the 
gaieties  and  vices  of  the  court,  a notable  exception  is  found  in 
Chardin,  who  found  his  types  in  the  humble  world  in  which  he 
lived — a world  very  far  removed  from  that  of  the  court  and 
society.  His  work  with  its  frank  realism  is  strongly  suggestive 
of  Dutch  influence,  his  representations  of  the  daily  life  of  the 
bourgeois  class  are  so  naturally  and  faithfully  rendered.  He 
used  little  imagination,  but  depicted  his  details  with  skill  and 
gave  a personal  note  to  his  work  which  was  far  removed  from 
the  somewhat  “simpering  prettiness”  affected  by  most  of  his 
contemporaries.  His  painting  let  the  truth  of  nature  into  the 
artiflciality  of  the  eighteenth  century. 

112. 

THE  HOUSEKEEPER. 

Louvre,  Paris. 

One  almost  feels  a return  to  Dutch  genre  here,  the  pic- 
ture is  so  like  those  of  the  “Little  Dutchmen”  in  feeling  and 
treatment.  Chardin,  true  to  his  nationality,  however,  has  kept 
the  French  types  of  his  country.  The  housekeeper,  evidently 
just  back  from  her  marketing,  has  brought  her  game  tied  up 
in  a linen  cloth.  Her  slender  figure  stands  out  admirably 
against  the  dark  wall.  Through  an  open  door  is  caught  a 
glimpse  of  a courtyard  flooded  with  soft  light,  where  a second 
figure  is  seen  standing  in  a doorway.  (This  arrangement 
reminds  one  of  De  Hooch’s  method  of  dealing  with  light.) 
The  bottles,  plates  and  mugs  are  most  carefully  painted;  the 


131 


texture  of  the  costume,  especially  of  the  apron,  is  wonderfully 
true.  There  is  evidently  some  truth  to  the  saying  that  “Char- 
din almost  beat  the  Dutch  on  their  own  ground.”  His  pic- 
tures were  welcomed  as  a great  relief  from  the  “Pompadour 
genre”  so  popular  at  this  time. 

113. 

THE  BLESSING. 

‘ Louvre,  Paris. 

A more  popular  work  of  Chardin ^s  is  the  homely  but 
charming  little  scene  called  The  Blessing.  The  little  girl  on 
the  low  stool  with  her  hands  clasped,  is  intent  on  saying  her 
grace  before  she  can  have  the  dish  of  broth  her  mother  has 
ready  for  her.  This  picture  in  its  arrangement,  treatment  and 
sentiment,  also  betrays  Chardin’s  acquaintance  with  Dutch 
methods.  In  style  and  feeling  it  is  similar  to  The  Frugal  Meal 
by  Israels. 

GREUZE. 

1725-1805. 

French. 

Though  not  a great  artist,  Greuze  was  fortunate  enough  to 
come  at  a most  opportune  time ; for  this  reason  he  was,  perhaps, 
over-estimated  by  his  countrymen.  Disgusted  with  artificiality, 
revolting  at  the  corruption  of  the  period,  a change  was  begin- 
ning to  take  place  in  the  taste  of  the  day,  consequently  the 
first  signs  of  return  to  a simple  life  and  sounder  morals  were 
welcomed  by  the  French  people. 

Greuze  introduced  a distinctly  moral  tone  into  his  repre- 
sentations of  domestic  life ; his  figures  of  young  girls  were  par- 
ticularly admired  for  their  innocence  and  simplicity.  He  was 
not  a strong  artist,  but  his  canvases  were  received  with  great 
enthusiasm  and  he  retained  his  popularity  for  a quarter  of  a 
century. 


132 


114. 


THE  BROKEN  PITCHER. 

Louvre,  Paris. 

The  one  picture  of  Greuze’s  that  has  attracted  the  picture 
lover  and  art  student  equally,  is  The  Broken  Pitcher  in  the 
Louvre.  In  it  the  artist  has  more  nearly  reached  the  ideal  of 
innocent  girlhood  than  in  any  other  of  his  works.  He  has, 
perhaps,  attempted  to  represent  the  serious  thoughtfulness  that 
comes  to  the  young  maid  when  her  eyes  have  caught  their  first 
glimpse  of  the  beckoning  future.  The  attitude  is  one  of 
dreamy  expectancy  and  wonderment  as  to  what  that  future 
may  hold  for  her.  Greuze’s  favorite  theme  was  Innocence  in 
Distress  and  into  his  pictures  of  young  girls,  he  usually  intro- 
duced some  cause  for  pensive  feeling  or  regret. 

This  picture,  which  is  one  of  the  most  naive  and  charm- 
ing of  all  his  compositions,  was  a great  favorite  with  Napoleon. 
When  the  Emperor  heard  of  the  artist’s  pitiful  death,  in  pov- 
erty and  neglect,  he  exclaimed  that  he  would  gladly  have  given 
him  “a  Sevres  vase  full  of  gold  pieces  for  every  copy  made  of 
his  Broken  Pitcher.” 


DAVID. 

1748-1825. 

French. 

The  French  Revolution  opened  a new  chapter  in  French 
painting.  By  the  nineteenth  century,  religion  as  an  art  motive 
had  ceased  to  obtain  anywhere — painting  from  being  a neces- 
sity had  passed  into  a luxury,  the  king,  the  state,  or  the  private 
collector  had  become  the  patron  instead  of  the  Church.  The 
martial  spirit  of  the  time  called  for  a new  style  of  pictures — 
heroic  themes  with  heroic  treatment  in  place  of  the  frivolous, 
insincere  work  of  most  eighteenth  century  painters. 

Jacques  Louis  David,  who  was  devoted  to  the  study  of 
antique  marbles,  accomj)lished  a return  to  the  classic  style.  The 
time  was  appropriate  and  the  style  had  great  vogue.  David 
became  the  founder  of  the  famous  Academic  School  of  France 
v;hich  had  as  a basis  the  perfection  of  line  and  form.  His  sys- 


133 


tern  was  concerned  with  external  beauty  and  directly  opposed 
to  the  exercise  of  any  spontaneity  or  individuality  on  the  part 
of  the  artist.  His  style  though  dignified,  was  lifeless  and  cold, 
lacking  in  relief,  color  and  sentiment  and  as,  unfortunately,  he 
cared  to  paint  nothing  unless  it  savored  of  the  antique,  he  left 
little  of  any  contemporary  interest.  His  work  was  accepted 
with  enthusiasm,  however,  and  infiuenced  French  painting  for 
nearly  half  a century. 

115. 

CORONATION  OF  NAPOLEON  AND  JOSEPHINE 
Louvre,  Paris. 

David,  who  was  a strong  adherent  of  Napoleon,  was  called 
upon  to  paint  Napoleonic  pictures.  He  painted  them  under 
protest,  yet  these,  with  his  portraits  are  among  his  best  works. 
This  masterpiece  shows  his  real  power  in  historic  scenes.  In 
accordance  with  the  wish  of  Napoleon,  David  has  represented 
the  moment  when  the  Emperor,  already  crowned,  is  about  to 
place  the  crown  upon  the  head  of  Josephine,  who  kneels  before 
him.  All  the  personages  grouped  about  are  portraits. 

This  vast  composition  which  contains  over  two  hundred 
figures,  is  admirable  in  grouping,  coloring  and  delineation  of 
textures.  For  what  it  was  intended, — the  pictorial  record  of  an 
historical  event — it  is  a dignified,  splendid  work.  He  received 
the  commendation  of  the  Emperor,  who  as  a testimony  of  his 
appreciation,  appointed  the  artist  an  Officer  of  the  Legion  of 
Honor. 

MADAME  LE  BRUN. 

1755-1842. 

French. 

Madame  Vigee  Le  Brun,  one  of  the  most  charming  paint- 
ers of  the  French  School,  belonged  wholly  and  distinctly  to  the 
eighteenth  century,  and  was  the  portrait  painter  par  excellence 
of  the  Court  of  Marie  Antoinette.  She  painted  in  the  graceful 
style  of  Greuze  but  with  more  breadth.  Her  works  have  a 
freshness,  life  and  spirit,  above  all  a sincerity  that  was  excep- 
tional for  this  period.  The  Revolution  brought  changes  in 

134 


manners,  laws  and  art;  a new  school — the  classic — was  de- 
veloping under  the  leadei*ship  of  David.  Notwithstanding  rev- 
olutions and  reforms,  she  continued  to  follow  the  dainty,  deli- 
cate art  of  Watteau,  Greuze  and  Fragonard — an  art  intrinsi- 
cally French. 

The  exquisite  grace  of  Madame  Le  Brun  was,  therefore, 
the  last  expression  of  what  may  be  called  eighteenth  century 
painting  in  France. 


116. 

PORTRAIT  OF  THE  ARTIST. 

Uffizi  Gallery,  Florence. 

The  charm  and  beauty  with  which  Madame  Le  Brun  in- 
vested the  portraits  of  her  patrons,  is  apparent  in  her  portraits 
of  herself.  This  particular  work  was  painted,  upon  request, 
for  the  celebrated  collection  of  portraits  of  famous  artists  by 
their  own  hand  to  be  placed  in  the  Uffizi  Gallery,  Florence. 
She  was  then  thirty-four  years  old  and  has  represented  herself 
as  seated  before  an  easel,  palette  and  brushes  in  hand,  engaged 
in  tracing  upon  her  canvas  the  features  of  Marie  Antoinette. 
The  pose  is  delightfully  natural  and  unaffected,  the  expression 
one  of  charming  vivacity. 

The  portrait  was  painted  in  1789 — tlie  year  of  the  French 
Revolution. 


185 


English  Painting. 


At  the  opening  of  the  eighteenth  century  England,  the 
last  to  be  touched  by  the  Renaissance  movement,  comes  into 
artistic  prominence.  This  country,  although  it  early  held  a 
foremost  place  in  science  and  literature,  was  very  late  in  adopt- 
ing pictorial  representation.  When  at  the  close  of  the  thirteenth 
century  all  Florence  was  filled  with  enthusiasm  over  the  won- 
derful Madonna  of  Cimabue,  Roger  Bacon  was  creating  almost 
equal  excitement  in  England,  and  history  shows  that  during 
her  early  years,  the  attention  of  her  people  was  held  by  min- 
strels and  writers  long  after  the  rest  of  Europe  was  under  the 
spell  of  the  pictured  story. 

From  the  fifteenth  to  the  eighteenth  centuries  the  country 
depended  largely  upon  foreign  artists,  who  came  to  the  English 
court.  Holbein,  Rubens,  Van  Dyck  and  others  were  imported 
for  the  service  of  royalty  and  exerted  an  influence  over  local 
artists.  It  was  not  until  the  eighteenth  century,  when  art  was 
falling  into  decadence  everywhere  else,  that  a national  school 
was  founded  in  England.  That  seriousness  of  purpose  which 
is  said  to  distinguish  the  English  character,  and  the  tendency 
of  public  taste  toward  literature,  is  reflected  in  English  paint- 
ing. 

British  painters  did  not  possess  the  pictorial  sense  to  the 
same  degree  that  the  Italians  and  the  French  possessed  it ; their 
art  in  general,  was  more  illustrative  than  imaginative  or  crea- 
tive. English  art  excelled  in  portraiture  and  struck  out  in  an 
original  and  distinctive  line  in  landscape.  Before  the  end  of 
the  century  the  English  School  produced  masters  who  were 
worthy  to  take  rank  in  their  own  special  styles  among  the 
great  painters  of  the  world. 

English  tradition  in  portraiture  and  landscape  is  still 
worthily  maintained  by  present  day  artists. 


136 


HOGARTH. 

1697-1764. 

English. 

The  first  purely  English  artist  of  note  was  William  Ho- 
garth, an  illustrator,  satirist  and  moralist,  as  well  as  painter.  He 
began  by  painting  portraits  in  which  he  showed  great  care  for 
character  and  realism,  but  later  occupied  himself  with  ideas  to 
be  expressed,  using  his  talents  largely  to  point  a moral  or  to 
depict  the  vices  of  his  day.  Following  the  literary  rather  than 
pictorial  trend  of  the  period,  he  treated  his  subject  as  a dra- 
matic writer  would  treat  it,  using  his  canvas  for  his  stage. 
Original  both  in  method  and  point  of  viewf^i^nh  fine  artistic 
qualities,  he  showed  remarkable  taste  in  his  lighting,  arrange- 
ment and  accessories.  His  greatest  success  was  in  his  three 
great  series  of  pictures  which  were  planned  for  the  conveying 
of  a moral  message. 

English  art  begins  under  him,  as  the  art  of  every  nation 
begins,  with  reflecting  the  life  of  the  time.  In  his  own  field, 
Hogarth  is  unsurpassed. 

117. 

THE  MARRIAGE  CONTRACT. 

National  Gallery,  London. 

Hogarth  was  so  keen  in  discovering  the  vital  point  in  a 
social  evil,  so  clever  in  exposing  it  to  view,  so  artistic  in  his 
manner  of  portrayal,  he  escaped  being  a “story  telling”  artist. 
In  the  Marriage  a la  Mode,  he  has  preached  his  sermon  well. 

The  work  is  a painted  drama  consisting  of  six  scenes  in 
which  the  artist  sends  forth  one  of  his  characteristic  warnings 
against  existing  evils.  In  this,  the  first  of  the  scenes,  Hogarth 
satirized  the  common  custom  of  parents  of  sacrificing  their 
children  for  the  advancement  of  their  own  condition.  The 
gouty  old  peer  shows  his  peerage  to  the  plebeian  alderman, 
who  gives  his  gold  in  exchange  for  the  title  of  Countess  for  his 
daughter.  The  prospective  groom,  a vain  young  fop,  is  admir- 
ing himself  in  the  mirror,  while  the  bride-to-be  flirts  with  the 
lawyer  who  draws  up  the  contract. 

The  picture  is  full  of  sly  suggestions  from  the  two  dogs 


137 


who  are  forcibly  chained  together  to  the  unfinished  building 
which  may  be  seen  through  the  window,  whose  construction 
has  been  arrested  for  lack  of  funds.  Stage  by  stage  the  series 
proceeds  from  the  signing  of  the  contract  to  the  violent  death 
of  the  Earl  and  the  suicide  of  the  Countess.  All  are  equally 
convincing  and  in  them  are  concentrated  all  Hogarth’s  best 
points — his  bitter  wit,  his  perfect  truth  of  detail  and  his  finish, 
which  rivals  even  that  of  Teniers. 

REYNOLDS. 

1723-1792. 

English. 

English  art,  which  as  a national  art  began  with  Hogarth, 
matured  with  the  genius  of  Reynolds.  Sir  Joshua  was  a court- 
ier, and  his  artistic  gift  took  the  foi*m  of  contemporary  portrait- 
ure. Down  to  the  end  of  the  century,  this  is  the  line  along 
which  the  main  current  of  English  art  went,  for  England, 
being  a Protestant  country,  had  abjured  the  religion  that  pro- 
vided the  motives  for  early  art  elsewhere. 

Influenced  by  his  studies  in  Italy,  Reynolds  reduced  his 
art  to  a system ; as  a result,  his  regard  for  rules  and  tradition 
prevented  his  work  from  ever  becoming  enthusiastically  spon- 
taneous or  strikingly  original.  However,  as  he  was  gifted  with 
a keen  insight  into  human  nature,  he  gave  realistic  and  im- 
pressive as  well  as  artistic  representations.  He  was  particularly 
successful  in  painting  the  charming  English  women  and  chil- 
dren of  the  fashionable  world  of  his  day.  Sir  Joshua  left  a 
large  number  of  works.  Prom  his  note-book  we  learn  that  at 
the  early  age  of  thirty-five  he  had  already  painted  no  fewer 
than  one  hundred  and  fifty  portraits.  The  painter’s  experi- 
ments with  numerous  oils  and  varnishes  have  ’worked  havoc 
with  his  pictures;  his  colors  are  sadly  faded. 

118. 

THE  AGE  OF  INNOCENCE. 

National  Gallery,  London. 

Most  artists  agree  that  the  painting  of  child-life  is  the 
most  maddening  as  well  as  one  of  the  most  fascinating 


138 


branches  of  their  art.  Here  Reynolds  was  eminently  success- 
ful. Never  is  he  more  perfect,  never  does  he  paint  more  spon- 
taneously than  when  he  portrays  children ; fortunately  for  our 
enjoyment,  he  has  immortalized  a throng  of  them.  He  surely 
must  have  possessed  the  hearts  of  these  small  people  in  order 
to  have  portrayed  their  varied  expressions  and  winsome  atti- 
tudes so  perfectly. 

This  portrait  of  an  enchanting  little  maid  sitting  under  a 
big  tree,  is  well  named  the  Age  of  Innocence.  The  artist  has 
charmingly  caught  tl^e  dreamy,  half-wondering,  half  startled 
expression,  so  typical  of  childhood.  The  demure  little  figure 
has  a grave  dignity  prophetic  of  coming  years,  yet  contradicts 
its  own  pretence  of  sober  age  by  the  rounded  curves  of  child- 
hood and  by  the  expression  of  the  serious  eyes  so  full  of  un- 
spoken curiosity  and  wonder. 

Reynolds  was  quick  to  seize  any  chance  attitude,  passing 
action,  or  expression  which  nature  set  before  him;  henco,  the 
great  charm  and  naturalness  of  his  child  portraits. 

119. 

DUCHESS  OF  DEVONSHIRE  AND  HER  DAUGHTER. 

Royal  Gallery,  Windsor. 

Reynolds  has  rarely  been  more  successful  than  in  his  por- 
trait of  Georgiana,  Duchess  of  Devonshire.  The  Duchess  was 
famed  for  her  culture,  her  love  of  art  and  her  beauty.  Rey- 
nolds had  painted  her  before ; once  as  a child  of  twelve,  again 
as  a bride,  here  as  a mother  playing  with  her  infant  daughter. 

This  reproduction,  which  is  beautifully  colored,  shows  a 
most  delightful  and  life-like  group.  The  gracious,  aristocratic 
Duchess,  attired  in  a simple  morning  gown,  is  engrossed  in 
play  with  her  child,  evidently  taking  great  pleasure  in  the 
baby’s  delight.  The  momentary  expression  of  the  mother  is 
most  natural  while  the  uncertain,  fitful  movements  in  the 
hands  and  feet  of  the  child  could  hardly  be  better  done.  They 
are  not  only  wonderfully  true  to  life,  but  convey  a living 
impression  of  the  infant’s  excited  movements  as  it  enters  into 


139 


the  sport.  The  intent,  interested  expression  of  the  little  face 
is  remarkably  caught  also. 

The  feeling  and  arrangement  of  the  picture  are  quite 
equal  to  its  conception.  Reynolds,  as  always,  has  kept  the 
characteristics  of  his  sitters.  The  mother  could  never  be  mis- 
taken for  other  than  a lady  of  rank.  Her  figure  stands  out  in 
striking  relief  against  the  dark  curtain.  The  little  Georgiana, 
afterwards  the  Countess  of  Carlisle,  is  given  a softer  treatment ; 
the  head  and  arms  are  outlined  against  a glimpse  of  sky — a 
happy  and  artistic  arrangement  by  the  artist. 

120. 

DR.  SAMUEL  JOHNSON. 

National  Gallery,  London. 

The  English  portrait  painters,  so  reads  the  accusation, 
always  flattered  their  sitters  abominably.  This  example  must 
be  an  exception  to  the  general  rule  for  there  is  no  touch  of 
idealization  here;  indeed  the  Doctor  hardly  lends  himself  to 
it.  To  be  sure  the  wig  may  be  a little  straighter  and  the  cloth- 
ing bear  more  evidence  of  brushing  than  was  customary 
with  the  original;  but  he  is  made  to  appear  in  his  “Sunday 
best”  doubtless  out  of  compliment  to  his  friend,  Mrs.  Thrale, 
for  whom  the  likeness  was  painted. 

Dr.  Johnson  often  sat  for  his  portrait.  He  said — “any 
reluctance  to  have  one’s  features  painted  shows  the  anfractuosity 
of  the  human  mind.”  Both  his  likeness  and  his  remark  are 
characteristically  ponderous.  The  portrait  is  heavy,  argument- 
ative in  aspect,  realistically  portraying  the  unwieldy  frame  and 
massive  features  of  the  irrepressible  Doctor,  at  the  same  time 
giving  an  impression  of  wonderful  vitality. 

His  biographer  has  scarcely  succeeded  in  making  him  a 
more  living  personage  than  has  Reynolds.  A marked  con- 
trast to  the  highly  refined  elegance  of  the  fashionable  Duchess, 
which  shows  another  side  of  the  artist’s  genius. 


140 


GAINSBOROUGH. 

1727-1788. 

English. 

Gainsborough,  a contemporary  of  Reynolds,  disliked  con* 
ventionalities  and  formulas.  He  was  a more  original  painter, 
both  in  conception  and  execution,  for  unlike  Sir  Joshua,  he 
followed  no  school  traditions.  With  a natural  taste  for  form 
and  color,.^S‘lOTge  sense  of  the  decoratively  beautiful,  he  went 
directly  to  nature  and  took  from  her  the  materials  which  he 
fashioned  into  art  in  his  own  manner.  His  work,  consequently, 
was  more  spontaneous  than  his  contemporaries — it  reflected 
mood  and  feeling  rather  than  analysis  and  theory;  Gainsbor- 
ough was  of  a decidedly  poetic  temperament,  with  a dash  of 
melancholy  which  is  evident,  particularly  in  his  landscapes; 
for  these  he  was  almost  as  noted  as  for  his  portraits. 

In  both  branches  of  his  art  he  was  one  of  the  most  original 
as  well  as  most  English  of  all  the  English  painters. 

121. 

PORTRAIT  OF  MRS.  SIDDONS. 

National  Gallery,  London. 

In  the  noted  portrait  of  Mrs.  Siddons,  in  her  blue  and 
white  dress  and  her  heavy  feathered  hat,  Gainsborough  has 
attempted  a daring  color  scheme,  defying  all  the  rules  of  Sir 
Joshua.  The  somewhat  strong  blue  of  the  gown  set  directly 
against  the  red  curtain  of  the  background  would  seem  to  have 
presented  difficulties  in  the  way  of  a harmonious  color  treat- 
ment. To  a great  degree  he  successfully  overcame  them. 

Some  critics  consider  that  Mrs.  Siddons,  rather  than  the 
‘‘Blue  Boy,’’  was  Gainsborough’s  “authentic  repartee”  to  Sir 
Joshua’s  celebrated  dictum  respecting  the  use  of  blue.  While 
one  carries  away  the  impression  that  the  colors  are  somewhat 
out  of  tune,  there  is  no  doubt  about  the  painter’s  success  in 
characterization.  In  this  respect  it  is  a masterpiece.  In  the 
stately  face — severe  even  in  its  beauty — one  sees  stamped  the 
character  of  the  actress  who  turned  the  heads  of  half  the  town, 
yet  herself  gave  cold  response  to  popular  admiration. 

This  large,  striking  work  is  one  of  great  distinction.  In 


141 


perfect  accord  with  the  personality  of  the  sitter,  a certain  feel- 
ing of  formality  and  unapproachableness  emanates  from  the 
presence  of  this  one  time  tragedy  queen. 

122. 

THE  BLUE  BOY. 

Collection  of  the  Duke  of  Westminster,  England. 

This  most  noted  portrait,  which  strongly  suggests  Van 
Dyck,  is  commonly  supposed  to  have  been  painted  by  Gains- 
borough as  a protest  against  the  dictum  laid  down  by  Sir 
Joshua  in  one  of  his  lectures,  that  blue  cannot  be  made  the 
dominant  note  in  a picture.  Gainsborough  took  up  his  pal- 
ette and  painted  this  celebrated  boy,  thereby  successfully  dis- 
proving the  statement. 

Master  Buttall,  for  that  is  the  boy’s  name,  stands  in  the 
center  of  the  picture,  with  a touch  of  swagger  in  his  air,  lookr 
ing  boldly  at  one  as  if  quite  aware  of  the  interest  and  discussion 
he  was  causing.  Dressed  entirely  in  blue,  he  stands  in  relief 
against  a blue  sky,  which  is  toned  down,  however,  by  a misty 
atmosphere.  The  work  is  strikingly  effective  and  somewhat  un- 
usual in  color  harmony. 

ROMNEY. 

1734-1802. 

English. 

Reynolds  and  Gainsborough  brought  about  a-  complete 
renaissance  of  the  art  of  portraiture  in  Great  Britain.  A great 
number  of  painters,  many  of  them  famous,  followed  in  their 
footsteps.  One  of  the  most  talented  of  these  was  George  Rom- 
ney, a man  eleven  years  younger  than  Reynolds  and  a con- 
necting link  between  the  eighteenth  and  nineteenth  centuries. 
He  was  a curious  combination  of  weakness  and  strength;  an 
artist  with  more  sweetness  than  force,  with  a tendency  to  flatter 
and  idealize  his  sitters.  His  work  suffered  from  a lack  of  per- 
severence  and  painstaking  effort,  yet  is  pervaded  with  chaim- 
ing  sentiment  and  color. 

He  soon  came  to  be  recognized  as  second  only  to  the  two 


142 


greater  masters  and  attained  great  popularity,  as  no  sitter  ever 
went  away  from  his  studio  without  a feeling  of  pleased  satis- 
faction at  the  subtle  transformation  of  appearance  accom- 
plished by  this  sensitive,  artistic  genius. 

123. 

MRS.  MARK  CURRIE. 

National  Gallery,  London. 

Mrs.  Mark  Currie  was  the  bride  of  a few  months  when  she 
sat  for  Romney.  The  face  looking  out  from  under  its  cloud 
of  hair  has  a charmingly  sweet,  natural  expression ; in  her 
simple  muslin  gown  with  rose  colored  ribbons,  she  is  as  fresh 
and  fascinating  today  as  she  was  in  1789.  The  charm  of  a 
gracious  personality  radiates  from  the  portrait  which  is  one  of 
the  most  exquisite  examples  of  Romney’s  favorite  type. 

RAEBURN. 

1756-1823. 

English. 

Sir  Henry  Raeburn  was  another  fine  portrait  painter. 
Though  a Scotsman  born,  he  was  English  in  his  art;  in 
technical  ability  he  probably  surpassed  any  of  his  predecessors. 
His  strong  simple  manner  was  suited  to  the  painting  of  men 
rather  than  women ; indeed  he  preferred  the  masculine  to  the 
feminine  type,  the  “eternal  womanly”  making.no  such  appeal 
to  him  as  to  Romney  or  Reynolds.  He  gave  wonderfully 
true  interpretations  of  the  real  nature  of  his  sitters — moulding 
the  whole  character  into  the  likeness.  He  confined  himself 
entirely  to  portraits  and  while  not  a great  creative  artist,  as  a 
craftsman  he  had  no  rival  in  his  age  and  country. 

124. 

MRS.  SCOTT  MONCRIEFF. 

National  Gallery  of  Scotland,  Edinburgh. 

Although  Raeburn  is  thought  of  as  essentially  a painter 
of  men,  yet  his  portraits  of  women  include  some  of  his  best. 


143 


This  of  Mrs.  Scott  Moncrieff,  which  ranks  among  the  finest 
examples  of  English  portraiture,  is  simple  in  color  scheme  and 
a masterpiece  of  modeling.  Here,  as  in  all  his  portraits  the 
artist  has  worked  out  an  intellectual  as  well  as  an  artistic 
problem  and  has  adapted  his  style  to  his  subject. 

CONSTABLE. 

1776-1837. 

English. 

The  two  greatest  landscape  painters  of  the  modern  English 
School,  were  Constable  and  Turner.  A great  change  in  this 
branch  of  painting  was  made  by  Constable,  who  is  called  the 
first  of  the  modern  open  air  painters.  This  artist  received  much 
of  his  inspiration  from  Hobbema  and  the  old  Dutch  land- 
scapists, although  the  early  Dutchmen  looked  at  nature  as  an 
object  of  which  to  make  a portrait  while  Constable  endeavored 
to  embody  his  own  feeling  in  his  representations.  Unlike  his 
predecessors,  he  saw  his  greens  unmixed  with  browns;  having 
the  courage  of  his  convictions  for  the  first  time  the  fresh  green 
of  the  grass  and  trees  and  the  blue  of  the  sky  became  interest- 
ing features  of  landscape.  By  choosing  high  noon  as  the  most 
attractive  time  of  day  in  which  to  paint  he  gave  an  originality 
to  his  lighting  heretofore  unknown. 

Constable  was  very  successful  in  rendering  the  proverbial 
moisture  of  the  English  atmosphere;  artists  used  jokingly  to 
advise  their  friends  to  take  an  umbrella  when  they  went  to  see 
Constable’s  pictures, — so  say  his  biographers.  The  French  recog- 
nized in  Constable  the  leader  of  a revolution  in  the  art  of  land- 
scape painting  and  his  work  had  a decided  influence  upon  the 
then  rising  landscape  school  of  France. 

125. 

THE  CORNFIELD. 

National  Gallery,  London. 

Speaking  of  the  country  surroundings  of  his  boyhood, 
Constable  once  said,  “Those  scenes  made  me  a painter.”  It  is 
not  surprising  that  a painter  so  essentially  English,  should 


144 


have  been  fascinated  by  the  beauties  of  a scene,  such  as  the  one 
represented  here  in  The  Cornfield  or  The  Country  Lane,  as  it 
is  often  called.  It  is  an  admirable  portrayal  of  just  such  a bit 
of  English  country  as  often  must  have  met  Constable’s  eyes  as 
he  was  looking  about  for  subjects  for  his  brush.  In  the  fore- 
ground a small  shepherd  lad  has  stopped  for  a moment  to  drink 
from  a spring  by  the  roadside,  leaving  his  flock  to  the  care  of 
the  dog,  meanwhile. 

This  peaceful  bit  of  nature  by  its  contrast  of  low  tones, 
gives  additional  brilliance  to  the  cornfield  which  forms  a sheet 
of  waving  gold  in  the  middle  distance.  Beyond,  in  perspective, 
stretch  the  green  meadows  of  the  valley  with  glimpses  of  a 
river  and  a church  tower  among  the  trees.  Constable  has  de- 
parted from  the  old  notion  of  brown  effects  in  nature  and  paint- 
ed his  greens  and  yellows  with  a bold  brush.  This  picture  of 
rich,  fertile  English  country  side  is  painted  from  nature  by  a 
master  hand  and  imbued  with  the  enthusiastic  spirit  of  the 
poet  painter. 

TURNER. 

1775-1851. 

English. 

With  Turner,  the  theme  of  many  rhapsodies,  the  idol  of 
Ruskin,  we  go  back  to  idealized  landscape.  Of  the  long  galaxy 
of  imaginative  painters,  he  was  by  far  the  most  imaginative  of 
all.  As  the  exponent  of  a fashion  and  style  of  his  own,  as  one 
who  defied  all  rules  and  was  a law  unto  himself,  he  stands  a 
significant  figure  in  art  history.  Learned  in  all  the  forms  of 
nature,  schooled  in  all  the  formulas  of  art,  yet  he  took  neither 
nature  nor  other  artists  as  his  models;  in  fact  he  was  not  so 
much  concerned  with  the  truth  of  nature  as  with  the  splendor 
and  magic  of  the  sun. 

Turner  was  preeminently  a painter  of  the  elements,  water, 
air  and  light;  he  became  so  absorbed  in  the  fascination  of  the 
latter  that  he  paid  little  attention  to  human  interest  or  action ; 
he  slighted  detail  and  generalized  to  such  an  extent  that  his 
later  works  are  visionary  and  vague.  Because  of  his  exclusive 
worship  of  atmosphere,  his  sacrifice  of  matter  and  form  to  sur- 


145 


rounding  air,  space  and  light,  he  is  looked  upon  as  the  founder 
of  modern  impressionism. 

126. 

ULYSSES  DERIDING  POLYPHEMUS. 

National  Gallery,  London. 

The  incident  which  formed  the  inspiration  for  this  noted 
picture  is  taken  from  Homer’s  ‘‘Odyssey.”  It  illustrates  the 
passage  where  Ulysses  in  his  voyage  from  Troy  stopped  at  the 
island  of  the  Cyclops  and  approaching  the  cave  of  Polyphemus 
lost  six  of  his  men,  who  were  devoured  by  the  monster.  Putting 
the  creature  to  sleep  by  drugging  him  with  wine,  Ulysses  put 
out  his  single  eye  with  a burning  stick,  after  which  he  escaped 
to  the  ship  with  the  remainder  of  his  crew.  The  first  impres- 
sion is  of  fine  color  and  effective  massing  of  light  and  shade. 
The  greatest  charm  of  the  work,  however,  lies  in  its  imperfect 
revelation. 

Turner  was  an  artist  who  put  a large  amount  of  suggest- 
iveness into  his  pictures;  these  shadowy  spaces  peopled  with 
vague,  strange  shapes,  set  the  fancy  roaming  and  give  a sense 
of  mystery  that  is  singularly  fascinating.  On  the  top  of  the 
cliffs  the  huge,  writhing  figure  of  the  monster  Cyclops  is  faintly 
discernible.  The  shapes  of  the  vessels,  the  forms  of  the  sailors, 
the  bevy  of  sea-nymphs  guiding  the  prow  of  the  boat  are  only 
partly  defined,  while  the  mass  of  shadow  at  the  left  is  entirely 
impenetrable. 

Turner  has  chosen  an  old  time  theme.  A myth  which 
belonged  to  a period  far  enough  away  to  permit  him  perfect 
liberty  of  treatment  and  furnished  him  opportunity  to  exercise 
the  splendors  of  his  imagination. 

127. 

THE  FIGHTING  TEMERAIRE. 

National  Gallery,  London. 

The  Temeraire  (“The  One  That  Dares”)  is  perhaps  the 
most  universally  accepted  as  Turner’s  masterpiece.  The  ship 


146 


was  captured  by  the  English  from  the  French  in  the  battle  of 
the  Nile  in  1789,  and  thereafter  formed  a part  of  the  British 
navy.  At  the  battle  of  Trafalgar,  she  was  the  second  ship  in 
Nelson^s  line  and  was  crowned  with  chief  victory;  in  1838  after 
a long  and  eventful  service,  was  pronounced  past  usefulneas, 
condemned  as  unsea  worthy  and  sold  to  be  broken  up.  Turner 
was  on  the  Thames  when  the  noble  old  ship  was  taking  her  last 
journey  alone  with  none  to  do  her  honor,  without  the  firing  of 
a single  gun,  humiliatingly  and  pathetically  being  towed  away 
by  a modern,  aggressive  little  steam  tug.  The  incident  ap- 
pealed to  him  as  a text  for  a picture. 

It  is  impossible  to  form  any  idea  of  the  glory  of  the  paint- 
ing from  an  uncolored  reproduction.  Turner’s  brush,  as  if 
Midas  touched,  has  turned  the  canvas  into  shimmering,  glit- 
tering gold.  The  sky  is  fairly  ablaze  with  sunset  light,  the 
ripples  of  water  have  caught  and  reflected  the  glow  until  the 
entire  broad  surface  of  the  stream  is  alive  with  scintillating 
color.  The  distant  shore  behind  which  the  sun  is  setting  is 
enveloped  in  a fiery  haze  through  which  walls  and  towers  of  a 
city  loom  with  visionary  indistinctness. 

In  the  lurid  atmosphere  the  stately  Temeraire  presents  a 
ghostly  phantom-like  appearance — a direct  contrast  to  that  of 
the  energetic  little  tug  so  impertinently  puffings  its  black  smoke 
into  the  face  of  the  old  war  ship. 

Turner  has  no  doubt  intentionally  given  a sense  of  pathos 
and  sadness  to  the  spectacle  of  the  vessel  that  had  brought 
honor  to  the  whole  nation,  being  taken  away  to  a prosaic  and 
humiliating  end.  One  is  reminded  of  Holmes’  “Old  Iron- 
sides,” written  w^hen  it  was  proposed  to  alot  a like  ignoble  fate 
to  the  American  frigate,  Constitution. 

WILKIE. 

1785-1841. 

English. 

Sir  David  Wilkie,  sometimes  called  the  “Scotch  Teniers,” 
was  a Scotchman  by  birth,  but  is  associated  with  the  English 
School.  Not  since  the  days  of  the  “Little  Masters  of  Holland” 
had  the  home  life  of  the  common  people  been  so  realistically 
pictured.  Unlike  Hogarth,  his  aim  was  to  please  and  amuse 


147 


rather  than  to  deduce  a moral ; his  pictures  instead  of  express- 
ing an  idea  express  a passing  sensation.  He  possessed,  in  a 
superior  degree,  the  power  of  portraying  life  and  movement  by 
gesture,  and  showed  great  ability  in  arranging  his  groups  and 
rendering  their  varied  expressions.  He  belongs  to  the  group 
of  English  genre  painters  of  the  period  who  modeled  their  style 
on  the  Dutch. 


128. 

BLIND  MAN’S  BUFF. 

Buckingham  Palace,  London. 

Sir  David  captivated  Londoners  by  just  such  clever  por- 
trayals as  he  has  given  here  in  Blind  Mans  Bujf.  It  is  a re- 
markably realistic  delineation  gf  this  merry,  rather  boisterous 
game.  He  must  often  have  been  a participant  or  at  least  an 
interested  observer  of  it,  to  have  rendered  it  so  vividly.  The 
humorous  situations,  the  scrambling  and  confusion  are  quite 
as  many  can  recall  on  similar  occasions  in  the  good  old  days, 
and  display  great  genius  on  the  part  of  the  artist.  It  was  in 
portraying  like  scenes  he  gained  such  popularity  his  name  be- 
came almost  a household  word.  The  old  fashioned  game  has 
formed  an  evening’s  amusement  in  many  a happy  home  circle, 
and  the  work  will  always  make  an  appeal,  if  only  by  serving 
to  recall  similar  scenes  of  merriment  in  childhood’s  happy  days. 
The  charm  of  a picture  that  tells  a story  is  not  likely  to  be 
enduring  if  the  picture  does  nothing  more  than  that.  But 
when  it  rouses  a train  of  agreeable  recollections,  is  as  well  done, 
is  as  full  of  vital  life,  action  and  spirit  as  Wilkie’s  Blind  Man's 
Buff  it  is  sure  to  be  attractive  in  its  own  way. 


148 


Romanticism 


Turning  again  to  France  to  follow  the  course  of  her 
development,  it  is  found  that  the  discontent  and  intensity  of 
sentiment  which  prevailed  at  the  beginning  of  the  nineteenth 
century,  were  working  a change  in  art.  The  French  Revolu- 
tion culminated  in  an  extraordinary  outburst  of  national  en- 
thusiasm which  demanded  something  spontaneous,  something 
expressive  of  the  intense  feeling  of  the  time.  The  quick  succes- 
sion of  events,  the  highly  wrought  state  of  public  feeling  could 
no  longer  be  represented  by  statuesque,  academic  art. 

In  1822  a movement  which  took  the  name  of  Romanti- 
cism, came  forward  in  opposition  to  the  classicism  of  David; 
its  followers  sought  to  represent  the  poetic,  the  emotional  sen- 
timent of  life.  The  quarrel  between  the  two  schools  lasted  for 
some  years  with  neither  side  victorious,  but  th'e  influence  of 
either  the  classic  or  romantic  motive  may  be  traced  in  almost 
all  French  painting  of  the  ninteenth  century.  Romanticism 
had  a decided  effect  on  modern  art  through  the  new  school  of 
landscape  which  developed  at  Barbizon. 

DELACROIX. 

1799-1863. 

French. 

Delacroix,  the  leader  of  the  romantic  movement,  was  one 
of  the  greatest  colorists  of  the  nineteenth  century;  an  artist 
who  thought,  designed  and  expressed  himself  in  color.  “To  be 
a feast  for  the  eyes  is  the  first  merit  of  a picture,’’  are  words 
entered  in  his  diary  shortly  before  his  death.  He  was  the  true 
representative  of  his  age,  its  enthusiasms,  its  activities,  its 
agitated  emotions;  his  art  reflected  the  mighty  impulses  which 
had  been  let  loose  by  the  Revolution.  The  scenes  of  violence 
and  tragedy  which  often  form  the  inspiration  for  his  brush 
show  a most  vivid  power  of  imagination  and  strength  of  ex- 


149 


pression,  although  his  dramatic  action  and  emotional  intensity 
are  usually  overwhelming  rather  than  charming.  His  name  is 
the  greatest  among  the  adherents  of  the  Romantic  School  of 
painting. 

129. 

DANTE  AND  VIRGIL. 

Louvre,  Paris. 

Delacroix  often  took  his  subjects  from  the  tragic  poets; 
one  of  his  first  pictures  is  the  now  famous  Dante  and  Virgil, 
which  created  so  much  discussion  at  the  time  of  its  painting. 
This  strange,  ghostlike  scene  is  taken  from  Dante’s  Inferno 
Canto  III,  where  Dante  and  Virgil,  conducted  by  Charon,  are 
crossing  the  lake  which  surrounds  the  walls  of  the  infernal 
city  of  Pluto;  to  the  gunwale  of  the  boat  cling  the  unhappy 
shades,  one  convulsively  gripping  it  with  his  teeth,  another 
losing  his  hold  sinks  into  the  water,  while  another  pushes  off 
those  who,  like  himself,  are  trying  to  enter.  Above  these 
writhing  forms  stands  Dante  aghast  with  horror,  leaning 
toward  the  shade  of  Virgil,  -who  stands  calm  and  serene  amid 
the  tumult  around  him. 

The  painting  is  a wonderfully  imaginative  production,  a 
turbid  harmony  in  color,  and  most  remarkable  in  a certain 
weird  rhythmic  movement,  suggesting  agitated  waves,  which 
the  artist  has  produced  by  his  arrangement  of  the  figures  in 
the  water.  These  figures  are  marvels  of  draughtsmanship  and 
emotional  intensity.  The  art  of  Delacroix  represented  a break- 
ing away  from  w^hat  had  gone  before;  it  was  both  a protest 
against  the  cold,  calculating  art  of  David  and  an  endeavor  to 
express  the  fervor  of  modern  life  through  the  medium  of 
romance  and  color. 


160 


The  Barbizon  School. 


About  the  year  1830  the  most  famous  coterie  of  artists 
since  the  Italian  Renaissance  settled  in  the  little  town  of  Bar- 
bizon, three  miles  from  Fontainebleau,  and  founded  what  has 
been  called  the  Fontainebleau-Barbizon  School.  The  desire  for 
a medium  through  which  to  give  the  world  an  art  which, 
avoiding  the  extremes  of  both  the  classicists  and  the  romanti- 
cists should  become  a universal  art,  found  expression  in  these 
men. 

The  exhibition  of  English  landscapes  by  Constable  in 
1822,  had  opened  their  eyes  to  the  neglected  possibilities  of 
landscape  painting  and  the  school  was  devoted  primarily  to  the 
study  of  light,  color  and  impression.  Their  studies  included 
not  merely  the  external  appearances  but  the  inward  spirit  of 
a scene,  beside,  in  their  intimate  study  of  the  individuality  of 
nature  they  became  themselves  intensely  individual — thus  em- 
bodying what  became  a leading  characteristic  of  the  age — indi- 
vidualism. 

This  little  group,  led  by  Rousseau  and  his  followers,  were 
far  from  being  appreciated  in  their  own  day,  but  they  left  a 
wonderful  legacy  and  exerted  a far  reaching  influence — 
an  influence  which  is  not  yet  ended.  Our  modern  landscape 
artists  have  continued  and  developed  nature  study,  endeavor- 
ing to  carry  it  to  the  highest  development  the  art  can  attain — 
that  of  representing  the  spirit  of  nature  through  the  external 
forms  in  which  it  is  embodied. 

COROT. 

1796-1875. 

French. 

In  the  Barbizon  group  of  artists,  Corot  occupies  a place 
peculiarly  his  own.  Though  all  these  nature  worshippers  paint- 
ed light  and  atmosphere,  no  one  of  them  has  better  translated 


151 


with  his  brush  the  fitful  moods  of  day  as  she  appears  in  the 
morning  and  disappears  in  the  evening,  than  has  Corot. 

One  of  the  most  original,  most  poetic  of  painters,  he  was 
not  concerned  with  the  absolute  statement  of  facts  but  with 
the  essence  or  spirit  of  landscape  which  it  was  ever  his  aim  to 
reveal.  His  compositions  are  usually  simple,  his  masses  of 
light  and  shade  very  broadly,  but  most  effectively,  handled.  He 
never  had  a superior  in  producing  the  permeating  light  of 
twilight  and  dawn. 

Corot  shows  nature  as  seen  through  his  own  poetic,  artistic 
temperament;  he  shows  an  interpretation  of  his  own  mood 
rather  than  an  interpretation  of  nature  herself. 

130. 

LANDSCAPE. 

Louvre,  Paris. 

Loving  and  understanding  nature  perhaps  better  than  any 
other  artist,  his  intimate  acquaintance  with  all  her  moods 
enabled  him  to  reveal  her  secrets.  Corot  loved  best  the  en- 
chantment of  the  mysterious  hour  of  early  morning,  when 
nature  is  just  awakening  from  sleep,  or  the  evening  time, 
when  the  hush  of  twilight  descends  with  the  sound  of  the 
evening  vesper. 

This  landscape  breathes  of  that  morning  hour  when  the 
vapors  of  night  are  being  dispelled  by  the  bright  rays  of  the 
sun  and  suggests  the  season  when  nature  is  putting  on  her 
spring  dress.  It  is  as  full  of  joy,  lightness  and  grace  as  a 
symphony  by  Mozart.  The  quivering  leaves  of  the  trees  are 
exquisitely  relieved  against  the  pale  glow  of  the  sky,  the  mist 
still  hangs  like  a veil  over  the  quiet  surface  of  the  lake.  The 
figures,  which  are  embodiments  of  the  spirit  of  the  scene,  are 
creatures  far  removed  from  the  responsibilities,  the  sordid  ex- 
p’eriences  of  life. 

It  is  one  of  the  artist’s  typical  representations  of  nature}  a 
nature  deliciously  impossible,  full  of  uncertainty,  enveloped  in 
atmosphere,  and  pervaded  with  mystery. 


152 


DAUBIGNY. 

1817-1878. 

French. 

Daubigny,  the  youngest  of  the  Barbizon  group,  is  another 
master  of  atmosphere  and  light.  He  has  great  charm,  simplic- 
ity and  directness  of  style  with  a distinct  individuality. 

As  truly  a lover  of  nature,  his  works  display  less  imagi- 
nation than  Corot’s,  but  more  literal  truth.  Always  happy  in 
his  selection  and  arrangement,  he  paid  little  attention  to  de- 
tails but  rendered  the  general  effect  of  a landscape  in  a truly 
remarkable  way.  His  works  are  usually  quiet,  restful  and 
rich  in  low  tones  of  color.  Daubigny  is  a connecting  link 
between  Corot  and  the  present  day  impressionists,  as  he  sought 
to  gain  his  effects  by  values,  rather  than  by  varying  color  tones. 

131. 

ON  THE  RIVEB  OISE,  EVENING. 

Metropolitan  Museum,  New  York  City. 

A good  reproduction  can  translate  something  of  the  witch- 
ery and  charm  of  Corot,  but  Daubigny  needs  to  be  seen  in  color 
to  be  appreciated.  His  scenes,  usually  simple,  are  so  delight- 
fully natural.  His  vegetation  is  such  a rich,  luxuriant  green, 
his  meadows  so  sunny,  his  river  banks  so  cool  and  shady,  one 
cannot  fail  to  succumb  to  their  fascination.  Artistically  he  is 
akin  to  Corot,  although  he  looked  at  nature  through  different 
glasses.  Daubigny’s  trees  are  perhaps  more  easily  identified 
botanically,  than  Corot’s,  but  the  latter  ^ ‘cared  to  paint  their 
souls”  rather  than  the  cut  of  their  clothes.  In  the  work  of  both 
men  there  is  more  than  appears  to  the  eye.  Beneath  their 
objective  beauties  one  gets  the  impression  that  the  artists  have 
discovered  secrets  in  nature  too  subtle  for  untrained  eyes  to 
perceive  at  first  glance. 

Daubigny  spent  much  of  his  time  on  house  boats  on  the 
Oise  and  Seine  and  is  famous  for  his  reproduction  of  the  river 
banks  or  a corner  of  his  garden.  This  quiet  scene,  a bit  of 
nature  interpreted  through  the  eyes  of  a sincere  nature  lover, 
is  lifted  above  the  common  place  by  the  individual,  poetic, 
treatment  of  the  artist. 


153 


MILLET. 

1814-1875. 

French. 

In  the  Fontainebleau  group,  allied  in  feeling  and  senti- 
ment with  the  landscape  artists,  was  Millet,  a man  who  saw 
poetry  in  the  homely,  the  commonplace,  the  fundamental  side 
of  things.  His  was,  indeed,  a wide  contrast  to  the  view  point 
from  which  Corot  looked  upon  life  and  it  is  a vastly  different 
world  into  which  his  brush  summons  one.  Corot’s  work  re- 
flects his  own  joyous,  happy  spirit,  his  idealized  vision  of 
nature.  Millet  was  impressed  with  realities;  the  actual  drama 
of  labor  as  exemplified  in  the  life  of  the  peasant  was  the  object 
of  his  artistic  efforts;  each  artist  peering  beneath  the  surface 
into  the  spirit  of  things  strove  to  reproduce  the  particular  truth 
that  was  revealed  to  himself. 

At  first  a figure  painter  and  a student  under  Delacroix, 
Millet  soon  renounced  his  first  style  and  began  to  paint  peasant 
life  with  a literal  and  pathetic  truthfulness  far  from  acceptable 
to  the  public  taste.  But  his  works  were  fraught  with  a mes- 
sage which  in  time  made  its  appeal  to  humanity.  In  our  present 
age  of  naturalism,  among  the  many  who  have  followed  in  his 
footsteps,  he  ranks  as  one  of  the  greatest  painters  of  peasant 
life. 


132. 

THE  GLEANERS. 

Louvre,  Paris. 

The  Gleaners  is  probably  Millet’s  greatest  composition.  It 
represents  an  every  day  scene  unadorned  and  direct  in  which 
the  pathetic  toilsome  life  of  the  peasant  is  set  forth  with  tell- 
ing reality.  The  bent,  weary  figures  working  in  the  scorching 
sun  are  gathering  here  and  there  from  the  barren  stubble,  the 
few  meager  bits  the  reapers  have  left  behind. 

The  inner  meaning  of  the  picture  was  so  obvious,  was  such 
a revelation  of  existing  conditions,  the  work  raised  a storm  of 
abuse.  It  is  said  Millet  had  no  intention  of  emphasizing  the 
inequality  between  the  poor  peasant  and  the  rich  land  holder; 


164 


nevertheless  he  could  hardly  have  portrayed  the  contrast  be- 
tween the  lives  of  the  two  classes  more  convincingly.  The 
whole  make-up  of  the  picture  emphasizes  the  poverty  of  the 
one  and  the  abundance  of  the  other. 

BRETON. 

1827-1906. 

French. 

Another  peasant  painter  of  this  period  but  one  who  dif- 
fered from  Millet  in  personality,  was  Breton.  He  also  went 
into  the  fields  for  his  subjects,  but  having  the  sentiment  and 
imagination  of  a poet  he  merely  used  the  peasant  as  a peg 
upon  which  to  hang  his  poetic  ideas. 

Breton^s  point  of  view — the  use  of  facts  as  accessories  with 
which  to  build  up  an  ideal  composition  was  the  one  then  in 
vogue  in  France,  the  style  of  the  Barbizon  men  not  yet  having 
received  full  recognition.  He  had  not  the  originality  of  Millet 
in  representing  the  commonplace,  but  showed  the  more  joyous 
side  of  rural  life,  and  he  has  given  us  some  splendidly  strong, 
vigorous  figures  even  if  ideally  represented. 

No  artist  of  the  nineteenth  century  had  a more  unanimous 
acknowledgement  of  his  merits  than  did  Breton  during  his 
lifetime. 


133. 

THE  SONG  OF  THE  LARK. 

Art  Institute,  Chicago. 

The  Song  of  the  Lark,  full  of  dignity  and  simplicity  in 
design,  is  low  in  color  tones  representing  that  mysterious  hour 
preceding  dawn,  when  the  sun,  a hazy  red  ball,  is  just  appear- 
ing. The  only  figure  is  that  of  a peasant  girl  silhoueted 
against  the  dull  sky,  yet  the  work  is  full  of  poetry. 

If  it  is  true  that  an  artist  is  one  who  not  only  knows  how 
to  see,  but  has  the  gift  of  making  others  see  with  him,  Breton 
surely  deserves  the  title,  for  it  takes  little  stretch  of  the  imagin- 
ation to  see  this  sturdy  figure  come  swinging  down  the  path 
with  a vigorous  stride,  see  her  halt  to  listen  as  she  catches  the 


155 


liquid  notes  of  the  sky  lark,  and  as  the  bird  disappears,  resume 
her  way.  The  impression  of  instantly  arrested  motion  and  an  in- 
tent, listening  attitude  is  given  wonderfully  well.  One  uncon- 
sciously follows  the  figure’s  gaze  almost  with  the  expectation  of 
catching  the  last  notes  of  the  song. 

The  exquisite  sentiment  shown  by  the  appreciation  of  the 
peasant  girl  for  the  beauty  of  the  strains  of  the  lark, — the  most 
subtle  and  finest  suggestion  of  the  picture, — reveals  the  poetic 
temperament  of  the  artist. 

BONHEUR. 

1822-1899. 

French. 

Among  the  few  women  who  have  attained  distinction  in 
painting,  Rosa  Bonheur  is  probably  the  best  known.  She  won 
for  herself  unanimous  admiration  for  her  scientific  study  and 
observations  of  the  life  of  four-footed  creatures;  she  struck  an 
original  note  in  painting  animals  as  a realist,  but  with  an 
artistic  treatment  unlike  any  previous  examples.  No  woman 
has  been  so  highly  honored  officially,  nor  has  perhaps  won  so 
exceptional  a place  in  art. 

134. 

PLOUGHING  IN  NIVERNAIS. 

Luxembourg,  Paris. 

In  this  common-place  scene,  the  gifted  French  woman  has 
revealed  some  of  the  successful  results  of  her  life  study.  PeiM 
haps  the  strength  of  the  awkward  creatures  is  what  appealed  to 
her  most,  as  she  has  made  it  the  chief  note  in  the  picture. 

She  evidently  knew  ox-anatomy  by  heart,  knew  just  how 
to  show  the  joints  and  muscles  through  the  tough  hides,  knew 
also  just  what  and  how  much  to  show  in  order  to  portray  the 
characteristics  of  the  patient  beasts.  These  are  far  from  con- 
ventional, wooden  animals,  they  are  beasts  thoroughly  alive, 
with  straining  muscles  and  panting  sides;  the  position  of  the 
limbs  and  long  slant  of  the  backs  gives  very  realistically  the 
effect  of  a slow,  hard  pull  through  the  dry,  baked  earth.  Shout- 


156 


ed  at  and  prodded  by  the  driver,  the  long  suffering  oxen  show 
contrasting  expressions  of  meekness  and  rebelliousness;  the 
white  one  of  the  middle  pair  is  evidently  the  present  sufferer, 
while  the  patient  meekness  of  its  companion,  indicates  that  it 
has  already  felt  the  impatience  of  the  driver.  The  varied 
colors  of  the  wrinkled  hides  with  the  effect  of  sunshine  over 
them,  are  beautifully  shown. 

The  artist  has  also  attempted  the  very  difficult  feat  of 
painting  white  against  white,  and  has  solved  the  problem  well. 
White  upon  white  in  full  sunlight,  has  been  practiced  since, 
but  Bonheur  was  one  of  the  originators  of  the  effect. 

MEISSONIER. 

1815-1891. 

French. 

In  the  same  period  with  the  Barbizon  men,  other  artists 
came  to  the  front  who  held  aloof  from  both  Classic  and  Roman- 
tic Schools,  who  stood  for  a special  movement  in  painting  and 
who  really  gave  a third  tendency  to  French  art  in  this  century. 

The  leader  of  these  so-called  Realists,  who  maintained  that 
the  only  subject  in  art  should  be  nature  as  it  really  is,  was 
Courbet.  Prominent  among  the  followers  of  the  movement 
was  Meissonier,  whose  fundamental  principle  was  also  realism ; 
not  realism  of  impression,  however,  but  realism  of  detail.  He 
went  to  the  Dutch  for  his  models^^tiirfed  his  attention  to  genre 
painting  but  always  remained  true  to  his  origin  and  retained 
his  own  characteristics.  He  showed  marvelous  skill  in  the 
rendering  of  exact  detail;  in  his  particular  field,  he  has  no 
predecessors  and  no  competitors.  Fie  makes  no  direct  appeal 
either  to  the  mind  or  the  heart,  but  rather  charms  the  eye  by 
the  feats  of  his  brush. 

His  art  is  not  great,  but  it  is  inimitable.  His  greatest 
claim  is  to  extraordinary  technique  in  miniature  representation 
for  he  held  that  as  all  objects  of  nature  were  composed  of  atoms 
too  small  to  be  seen  with  the  naked  eye,  so  a picture  should  be 
finished  with  such  care  that  its  beauties  could  be  detected  only 
under  the  magnifying  glass. 


157 


135. 


LA  RIXE. 

Buckingham  Palace,  London. 

This  justly  celebrated  picture  which  differs  from  most  of 
Meissonier’s  works,  was  painted  to  refute  a statement  made  by 
his  critics  that  he  was  unable  to  represent  movement.  “The 
scene  represents  a brawl  in  a tavern;  the  chairs  and  tables  have 
been  overturned,  and  cards,  the  probable  cause  of  the  trouble, 
lie  scattered  on  the  floor.  The  assailant  has  drawn  his  dagger 
and  struggles  to  free  himself  from  two  companions,  as  they  with 
difficulty  prevent  his  rushing  upon  his  adversary,  who,  re- 
strained by  a third  peacemaker,  attempts  to  draw  his  sword.” 
The  violent  movement,  the  fierce  struggle  of  the  angry  men, 
the  intense  expression,  not  only  of  the  faces,  but  of  each  limb 
and  muscle,  are  powerfully  and  dramatically  rendered. 

Here  Meissonier  has  not  only  disproved  his  critics’  state- 
ment, but  given  convincing  proof  of  what  he  might  have  ac- 
complished along  broader  lines  had  he  given  less  thought  to  the 
portrayal  of  accessories  but  more  to  the  interpretation  of  life 
and  action. 


BOUGUEREAU. 

1825-1905. 

French. 

Bouguereau,  who  was  more  influenced  by  classic  than 
romantic  art,  was  particularly  concerned  with  the  beauty  of 
line,  form  and  feature.  Probably  no  artist  for  the  past  fifty 
years  has  been  the  subject  of  more  criticism  or  has  been  the 
recipient  of  greater  popular  admiration  among  his  own  coun- 
trymen than  he.  His  unfailing  devotion  to  academic  methods 
made  him  a master  draughtsman  and  technician,  but  robbed 
him  of  originality,  spontaneity,  life  and  enthusiasm, — quali- 
ties essential  to  great  painting. 

His  work  shows  little  intense  feeling  or  warmth  and  rich- 
ness of  color;  in  general  it  inclines  to  prettiness  rather  than  to 
greatness,  yet  is  never  trivial.  It  is  always  refined,  of  high 
moral  conception  and  harmoniously  attuned  to  public  taste. 


158 


Few  artists  have  rendered  the  charms  of  childhood  more  de- 
lightfully while  in  some  of  his  religious  and  mythological 
works,  Bpuguereau  has  reached  a serene  and  ideal  beauty. 

136. 

VIRGIN  OF  CONSOLATION. 

Luxembourg,  Paris. 

The  Virgin  of  Consolation,  probably  Bouguereau’s 
strongest  work,  is  one  of  tlie  most  pathetic  of  Madonnas  from 
a dramatic  standpoint.  It  is  Byzantine  in  color,  attitude  and 
setting,  but  in  feeling  is  far  removed  from  the  cold,  unsym- 
pathetic Byzantine  type. 

The  Consoling  Virgin,  whose  face  is  full  of  compassion,  is 
seated  and  draped  in  red  and  blue,  according  to  ancient  cus- 
tom ; the  gesture  of  the  hands, — one  of  benediction, — gives  her 
a distinction  that  is  striking  in  its  impression  of  solemn  peace. 
The  figure  of  the  desolate  mother  who  has  brought  her  dead 
child,  then  thrown  herself  despairing  and  heartbroken  across 
the  Virgin’s  knees  is  most  realistically  painted.  It  is  a touch- 
ing picture ; one  which  makes  an  immediate  appeal  to  instinc- 
tive, human  sympathies  and  is  impressive  in  its  effect  of  solace. 
Even  children  feel  its  impressiveness.  A group  will  often  be 
found  before  it ; with  grave  faces  and  in  low  hushed  tones  they 
express  their  feeling  for  the  sorrowing  mother. 

The  picture  was  painted  soon  after  the  Franco-Prussian 
war,  gained  a vital  success  and  has  never  lost  its  popularity. 


The  Pre-Raphaelites. 

While  France  has  been  dePi’eloping  along  new  lines,  Eng- 
land has  kept  pace  with  her  sister  country.  About  1847,  started 
what  was  perhaps  the  most  important  movement  in  English 
painting  of  recent  times.  It  took  the  name  of  pre-Raphaelit- 
ism,  and  represented  the  efforts  of  some  English  artists,  sculp- 
tors and  poets,  seven  in  all,  to  reform  the  art  of  the  country  by 
a return  to  the  simplicity  and  religious  fervor  of  the  Italian 
painters  before  Raphseks  time. 

Art,  they  maintained,  as  it  had  gained  in  facility  of  execu- 
tion and  grace  of  composition  had  lost  in  truth  of  fact  and 
spirituality ; the  mission  of  modern  painters  was  to  return  to  the 
sincerity  and  veracity  of  the  early  masters,  to  develop  an  art, 
religious,  moral,  thoughtful  but  in  all  cases  true  to  nature. 
Their  efforts  to  attain  the  true,  regardless  of  the  beautiful,  were 
sincere  but  their  work  finally  became  strained,  morbid  and 
tinged  with  a certain  mysticism. 

The  Brotherhood  lasted  for  only  a shoil  period ; the  mem- 
bers soon  drifted  from  each  other  and  began  to  paint  each  after 
his  own  style.  The  movement,  however,  gave  a higher  motive 
to  the  artistic  development  of  the  future  and  left  a powerful 
stamp  on  English  art ; for  following  it  came  a long  line  of  art- 
workers  in  almost  every  kind  of  decorative  article,  all  in  the 
quaint  style  and  sentiment  of  the  ^dong-ago.” 

ROSSETTI. 

1828-1882. 

English. 

The  most  unique  character  of  the  Brotherhood  artists  was 
without  doubt,  Dante  Gabriel  Rossetti,  a worshiper  of  Dante,  a 
man  whose  poetic  temperament  made  him  especially  suscep- 
tible to  the  dreaming  of  dreams  and  seeing  of  visions.  His 


160 


poems  and  pictures  have  a mystical,  romantic  spirit  about  them 
that  gives  them  a peculiar  power  without  making  them  great 
works  of  art. 

He  followed  the  Italian  Renaissance  painters  in  reprevsent- 
ing  humanity  rather  than  nature,  but  it  was  always  the  spirit- 
ual side  of  humanity  that  appealed  to  him.  He  used  the  mouth 
and  eyes  as  the  index  of  the  soul,  often  to  point  of  exaggeration, 
even  as  in  his  desire  to  express  emotion  and  excessive  sentiment, 
he  placed  his  figures  in  strained,  awkward  positions.  He  was  an 
artist  of  great  sincerity  of  purpose  who  endeavored,  through  his 
figures,  to  express  the  most  vivid  intensity  of  inner  life. 

137. 

THE  BLESSED  DAMOZEL. 

Collection  of  the  Hon.  Mrs.  O’Brien,  England. 

The  poem.  The  Blessed  Damozel,  was  written  in  Rossetti’s 
nineteenth  year;  the  picture  was  painted  at  fifty-one  after  he 
had  married  and  after  the  death  of  Miss  Elizabeth  Siddal,  who 
was  to  him  and  his  art  what  Saskia  was  to  Rembrandt — his 
ideal.  His  devotion  to  her  so  narrowed  him  to  one  type  that 
his  figures  of  women  bear  a striking  resemblance  to  one 
another. 

In  this  beautiful  dream-face,  Rossetti  has  immortalized  his 
wife,  representing  her  as  an  angel  of  God  standing  at  the  gate 
of  heaven  looking  upon  her  lover  left  upon  earth.  The  picture 
embodies  the  tragedy  of  his  life ; as  a youth  he  dreams  of  what 
love  might  be,  in  manhood  the  dream  became  reality  but  after 
scarcely  two  short  years  of  realization,  his  beloved  is  taken 
from  him.  The  poem  is  strangely  prophetic  of  her  death. 

^‘The  Blessed  Damozel  leaned  out 
From  the  gold  bar  of  Heaven ; 

Her  eyes  were  deeper  than  the  depth 
Of  waters  stilled  at  even; 

She  had  three  lilies  in  her  hand, 

And  the  stars  in  her  hair  were  seven.” 


161 


BURNE-JONES. 

T833-1898. 

English. 

Edward  Burne-Jones  was  a follower  of  Rossetti,  less  in- 
tense, but  like  him  thoroughly  steeped  in  the  mediaeval  spirit 
His  pictures  have  a weird,  witching  loveliness,  are  usually 
charming  in  design,  but  sometimes  disappointing  in  vigor  and 
color.  He  was  a most  subtle  painter,  combining  the  delicate 
charm  of  Botticelli  with  the  noble  invention  of  Mantegna  and 
the  decorative  design  of  present  day  artists.  A sensitive, 
highly  imaginative  idealist,  who  revealed  his  sincerity  in  all 
his  strange  and  fascinating  compositions. 

138. 

KING  COPHETUA  AND  THE  BEGGAR  MAID. 

Tate  Gallery,  London. 

The  old  story  of  the  king  who  succumbed  to  the  charms 
of  a simple  beggar  maid,  has  been  the  inspiration  of  many  an 
artist’s  brush,  but  none  has  so  fully  appreciated  the  aidistie 
possibilities  of  the  subject  as  Burne-Jones.  In  his  illustration 
of  this  fascinating  poem  by  Tennyson,  the  painter  represents 
the  king,  dressed  in  blazing  armor,  humbly  laying  down  his 
splendid  crown  at  the  feet  of  the  sweet,  simple  maid  who  in  her 
modest  gray  gown,  is  seated  upon  the  purple  cushions  of  his 
throne. 

The  scene  is  made  sumptuous  with  hangings  of  costly 
stuffs,  luxurious  pillows  of  rich  brocade,  chased  gold  panelling 
and  polished  metal.  Two  chorister  boys  perched  above  are 
singing  softly;  in  the  distance  between  the  curtains  is  caught 
a glimpse  of  autumn  landscape.  ‘Tn  this  exquisite  setting,  the 
two  figures  remain  motionless,  isolated  in  their  absorbed 
reverie.” 

HUNT. 

1827-1910. 

English. 

Holman  Hunt,  the  virtual  founder  of  the  school  and  the 
only  one  to  adhere  firmly  to  its  principles,  is  the  most  typical 


162 


of  the  famous  Brotherhood  as  in  Iiis  art  he  gives  expression  to 
the  theory  that  painting  must  be  both  religious  in  motive  and 
true  to  nature  in  minutest  detail.  In  his  concern  for  absolute 
realism,  he  seems  to  have  somewhat  overlooked  the  greater 
truths  of  light,  air,  technique  and  color. 

He  never  allowed  himself  to  paint  scenes  laid  in  foreign 
countries  without  visiting  them  and  learning  the  truth  regaid- 
ing  accessories ; these  he  reproduced  with  the  greatest  accuracy ; 
as  a result,  the  accessories  often  impress  beyond  the  subject. 
Notwithstanding  his  lack  of  atmosphere,  his  harshness  of  color- 
ing and  the  absence  of  many  qualities  one  looks  for  in  good 
painting,  his  sincerity  and  spiritual  fervor  redeem  his  work 
from  the  commonplace. 

139. 

THE  LIGHT  OF  THE  WORLD. 

Keble  Gollege,  Oxford. 

One  of  the  treasures  at  Keble  College,  Oxford,  is  the  Light 
of  the  World.  Christ  is  represented  as  a man  of  the  people  in 
simple  garb,  knocking  at  a door  overgrown  with  weeds  and 
brambles ; every  spray,  twig  and  thorn  is  clearly  brought  out  by 
the  light  of  a lantern.  The  work  had  a peculiar  timeliness  as 
an  awakening  had  been  going  on  in  the  Church  of  England ; it 
appealed  to  the  religious  feeling  of  the  people  who  saw  in  the 
overgrown  doorway,  an  allegory  of  the  condition  of  the  church 
before  Christ  “with  the  lantern  of  truth  awakened  the  sleepers 
with  his  knock.” 

After  its  exhibition  in  London,  it  went  on  a pilgrimage 
throughout  the  country,  and  many  thousands  of  copies  were 
made.  It  has  without  doubt  accomplished  its  mission  which, 
the  artist  declared,  was  to  preach  a religious  sermon.  ITunt’s 
works  began  a new  era  in  sacred  art,  raising  it  from  the  domain 
of  the  conventional  and  picturesque,  into  an  atmosphere  of 
truthfulness  and  sincerity. 


163 


MILLAIS. 

1829-1896. 

English. 

While  Holman  Hunt  held  fast  throughout  his  life  to  the 
pre-Raphaelite  principlef  the  adoption  of  them  by  Millais  was 
only  a transitory  stage  in  his  artistic  development.  He  soon 
drew  away  from  the  artificialities  of  the  school  and  developed 
a broader,  more  modern  style.  As  he  was  not  averse  to  story- 
telling with  the  paint  brush,  many  anecdotic  pictures  came 
from  his  easel.  He  had  great  success  as  a portrait  painter  and 
was  noted  for  his  strong  personal  characterizations.  In  that 
most  fascinating  branch  of  art,  the  painting  of  child-life,  he 
had  the  same  charm  that  belonged  to  Reynolds.  He  was  a fine 
specimen  of  English  nationality,  exceedingly  popular,  and  at 
the  time  of  his  death  President  of  the  Royal  Academy. 

140. 

THE  KNIGHT  ERRANT. 

Tate  Gallery,  London. 

Apart  from  the  technical  beauty  shown  in  the  drawing  of 
the  figure,  this  work  is  interesting  for  the  reason  that  it  is  one 
of  the  few  representations  of  the  nude  that  is  noticeably  re- 
markable for  its  purity,  its  direct  unsentimental  representation 
and  its  freedom  from  all  affectation.  It  represents  the  oft  re- 
peated story  of  a young  girl  left  bound  to  a tree  by  robbers  and 
rescued  by  a knight.  The  expression  on  the  face  of  the  latter 
is  striking,  almost  ascetic,  in  its  noble  purity  and  earnestness. 

WATTS. 

1817-1904. 

English. 

George  Frederick  Watts  set  forth  the  aim  of  his  art  when 
he  said,  “My  intention  has  been  not  so  much  to  paint  pictures 
that  will  charm  the  eye,  as  to  suggest  great  thoughts  that  will 
kindle  all  that  is  best  and  noblest  in  humanity.’^  He  was  the 
one  painter  of  his  time  in  England,  to  whom  the  idea  was  the 


164 


controlling  force.  Not  great  as  a technician,  a draughtsman  or 
a colorist,  yet  his  works  cannot  be  approached  without  realizing 
that  they  have  a definite  message  and  that  this  message  is  the 
chief  reason  for  their  existence. 

Watts  speaks  most  often  through  symbolism  and  his  mean- 
ing is  not  always  clear.  But  he  enforces  upon  his  observers  the 
sublimity  of  life  and  death,  inspires  by  his  illustration  of  great 
principles  and  noble  deeds,  and  convinces  that  art  is , after  allj 
a matter  of  humanity  as  well  as  of  paints  and  brushes.  In 
portraiture  he  has  achieved  remarkable  success  by  creating  per- 
manent memorials  of  the  great  Englishmen  of  his  time. 

141. 

LOVE  AND  DEATH. 

Tate  Gallery,  London. 

Watts  was  at  one  time  asked  to  paint  tlie  portrait  of  a 
young  nobleman  who  was  endowed  with  all  worldly  gifts  in  the 
way  of  friends,  rank  and  fortune,  yet  who,  in  spite  of  all  efforts 
was  slowly  dying  of  a fatal  disease.  The  memory  of  the  ex- 
perience so  haunted  him,  this  picture  was  the  outcome. 

It  represents  inevitable,  but  not  terrible  death,  opening  the 
door  of  a household  where  the  tragedy  of  life  is  accomplishing 
itself.  Love,  as  a youth  strong  and  resolute,  is  endeavoring  to 
prevent  her  entrance,  but  with  irresistible  force  he  is  swept  out 
of  the  way,  his  wings  crushed,  his  form  bruised  in  the  encoun- 
ter. Death  is  a majestic  figure,  but  is  devoid  of  customary 
sternness;  with  bowed  head  and  veiled  face  she  shows  her  re- 
luctance to  engage  in  the  dread  but  unavoidable  struggle.  The 
picture  is  somewhat  disappointing  in  color;  but  the  very  im- 
pressive thought — the  utter  helplessness  of  human  love  to  stay 
the  hand  of  death  is  brought  to  one  with  such  conviction, 
everything  else  is  forgotten. 

In  the  series  of  paintings  representing  various  phases  of 
love  and  death.  Watts  has  endeavored  to  give  a new  and  nobler 
significance  to  these  two  mysteries.  It  was  his  particular  desire 
to  rob  death  of  the  gloom,  dread  and  horror  with  which  pre- 
ceding masters  had  invested  it,  to  raise  love  from  the  conception 
of  a fickle,  tricky  urchin  to  its  noblest  characteristics — charity, 


165 


sympathy,  unselfishness.  In  these  representations,  called  The 
Cycle  of  Death,  he  has  probably  reached  the  climax  of  his  work 
and  thought. 

ALMA-TADEMA. 

1836- 

English. 

Sir  Lawrence  Alma-Tadema,  a noted  Dutch-Flemish  artist, 
has  made  his  store  of  archaeological  learning  minister  to  his  art. 
He  has  re-peopled  the  past,  reconstructed  temples,  altars  and 
dwellings  and  has  pictured  classic  maimers  in  the  most  authen- 
tic fashion.  The  scenes  of  his  pictures,  whether  of  baths,  am- 
phitheatre, or  atrium,  are  said  to  be  taken  from  his  own  notable 
London  house,  the  figures  moving  in  them  said  to  be  graceful 
English  girls.  In  the  painting  of  marbles  and  bronzes  he 
probably  has  no  equal  while  as  a portrayer  of  Egyptian  scenes 
he  quite  equals  with  his  brush  the  word  pictures  of  his  friend, 
George  Ebers. 

142. 

THE  COLISEUM. 

Collection  of  J.  D.  Archbold,  United  States. 

Sir  Lawrence  usually  places  his  personages  in  settings  sug- 
gesting ancient  Greece  or  Rome  and  clothes  them  in  costumes 
harmonious  with  their  surroundings.  In  the  Coliseum  the 
figures  in  the  foreground,  who  seem  to  be  on  a high  balcony  or 
the  roof  of  a palace,  are  interested  in  a pageant  in  the  street 
below;  they  are  charming  in  attitude  and  expression.  The 
varied  details,  the  urns  with  their  bold  relief,  the  festoons  of 
flowers,  the  marble  of  the  coping,  the  motley  crowd  of  figures 
in  the  procession  are  done  in  the  artist’s  usual  careful  manner. 

From  his  restoration  of  the  Coliseum  with  its  tiers  of  arches 
filled  with  groups  of  sculpture,  one  gains  an  idea  of  what  this 
great  building  must  have  been  in  the  days  of  its  pristine  glory. 
The  work,  which  is  somewhat  crowded  with  details,  betrays  Sir 
Lawrence’s  Flemish  origin. 


166 


Modern  German  Painting. 


German  painting  of  any  great  merit  ceased  with  Holbein 
in  the  sixteenth  century.  During  the  seventeenth  and  eigh- 
teenth centuries,  art  was  at  a very  low  ebb  both  in  Italy  and 
Germany ; vitality  in  art  production  was  confined  to  other  coun- 
tries. The  Renaissance  had  come  and  gone  in  the  South,  Ger- 
man artists  had  ceased  to  be  national  and  were  following 
Italian  methods  or  toilsomely  and  accurately  copying  objects 
with  microscopic  brush. 

At  the  beginning  of  the  nineteenth  century,  however, 
there  was  an  intense  effort  toward  an  art  revival.  About  1810 
four  young  students  left  the  Fatherland  to  seek  inspiration  in 
Rome,  determined  to  develop  a theory  of  painting  which 
should  reanimate  their  fellow  artists  with  the  faith  and  devo- 
tion of  the  fourteenth  century  Italian  painters.  The  movement 
corresponded  in  religious  spirit  with  what  was  afterward  known 
as  the  Pre-Raphaelite  movement  in  England  (started  in  1847), 
but  it  produced  no  important  results.  Different  schools  came 
to  the  front  and  attracted  some  attention,  as  the  Munich  School 
and  the  Dusseldorf  School,  but  most  of  their  notoriety  was  due 
to  the  fame  acquired  by  some  particular  artist. 

At  the  close  of  the  first  quarter  of  the  century,  however, 
several  artists  came  forward  who  marked  some  special  move- 
ment in  German  art.  Many  of  them  drew  on  the  rich  mine  of 
German  fairy  tales,  legend  and  history  for  subjects  close  to  the 
heart  of  the  German  people.  The  Swiss  master,  Arnold  Rock- 
lin, represented  here,  has  followed  in  their  wake  with  an  even 
greater  exuberance  of  creative  fancy. 

ROCKLIN. 

1827-1901. 

German. 

Arnold  Rticklin,  one  of  the  leaders  of  modern  German  art, 
is  one  of  the  most  singular  personalities  of  the  nineteenth  cen- 


167 


tury.  He  combines  the  intensity,  strength  and  fantasy  which 
characterized  the  earlier  masters  of  this  school,  with  the  classic 
beauty  of  the  Italians.  Bocklin  is  essentially  a romantic  paint- 
er, a great  colorist  and  a man  of  most  original  imagination.  A 
painter  mystic — whose  art  is  very  closely  allied  to  the  spirit 
of  modern  music. 

143. 

THE  ISLAND  OF  DEATH. 

Like  most  of  Bdcklin’s  works,  this  strange  picture  com- 
bines the  fantastic  and  the  poetic.  It  is  difficult  to  say  what 
mood  or  fancy  called  it  forth  from  the  jointer’s  imagination, 
but  it  contains  the  very  essence  of  his  art.  Toward  the  shores 
of  a lonely  island  a boat  draws  near.  Across  its  bow  rests  a 
coffin  decked  with  flowers  beside  which  stands  a white-robed 
figure,  the  focus  point  to  which  the  composition  is  adjusted  and 
the  starting  point  from  which  the  imagination  takes  its  ‘fieap 
into  the  beyond.”  The  solitary  island  towering  in  everlasting 
permanence  with  its  gloomy  cypress  trees,  its  entire  seclusion 
from  the  world,  gives  a suggestion  of  inexpressible  calm  and 
perhaps  pictured  to  the  mind  of  the  artist  a fitting  resting  place 
for  the  dead. 

The  work,  so  solemnly  impressive,  is  a most  original  con- 
ception. This  reproduction  is  one  of  six  versions  of  the  subject 
painted  by  Bocklin. 


168 


Modern  Dutch  Painting. 

From  Hobbema  and  the  painters  of  the  seventeenth  cen- 
tury,— with  whom  we  left  the  art  of  the  Netherlands, — ^until  we 
come  to  those  of  the  nineteenth  century  there  was  very  little  in 
Dutch  art  which  showed  great  merit.  During  the  subsequent 
century  the  Dutch,  like  the  Germans,  forsook  the  study  of  their 
own  land  and  people,  followed  the  Italians  and  filled  the  coun- 
try with  conventional  historic  pictures  or  classic  landscapes. 
After  a hundred  years  in  a dormant  state,  life  again  entered  the 
Netherlands.  The  artistic  instinct,  so  long  asleep,  was  awak- 
ened to  fresh  activity.  True  to  the  traditions  of  the  past,  the 
modem  artist  took  up  his  brush  where  the  seventeenth  century 
artist  laid  it  down,  and  again  began  to  paint  the  genre  picture ; 
those  devoted  to  this  branch  of  painting  are  unequalled  in 
present  day  art.  The  school  of  landscape  has  a strong  repre- 
.sentation  sdso,  and  the  painters  of  the  sea^e^aps  no  less  pow- 
erful. Of  the  modern  Dutch  School,  there  is  at  present,  only 
one  representative  in  the  collection. 

ISRAELS. 

1824-1911. 

Dutch. 

The  artist  who  has  been  the  chief  influence  in  the  modern 
revival  of  Dutch  art  is  Josef  Israels,  often  called  the  Dutch  Mil- 
let, though  he  has  a wider  range  of  subjects  than  the  earlier 
artist.  It  is  not  always  the  monotonous  life  and  tragedy  of  the 
poor  that  he  represents ; sometimes  it  is  the  sturdy  fisherman, 
the  bashful  lover  or  a touching  scene  of  home  life.  He  suggests 
Rembrandt  in  his  lighting ; like  that  artist  he  has  learned  the 
emotional  suggestiveness  of  light. 

His  most  characteristic  works  are  representations  of  dim 
interiors,  sombre  and  dark  in  color,  usually  sad  in  theme,  but 
painted  with  much  sentiment.  Under  his  influence  the  Dutch 


169 


are  once  again  finding  the  inspiration  for  their  painting  in  their 
own  unsurpassed  effects  of  sky  and  sea ; in  their  simple,  pictur- 
esque country  and  its  people. 

144 

THE  FRUGAL  MEAL. 

Corporation  Gallery,  Glasgow. 

The  Frugal  Meal  one  of  Israel’s  characteiistic  genre  pic- 
tures, represents  a homely  interior  with  the  family  partaking  of 
their  simple  evening  fare.  This  bit  out  of  the  life  of  a simple 
Dutch  family  is  transformed  by  the  painter’s  art  into  a delight- 
ful picture.  It  shows  his  method  of  lighting  and  is  full  of  the 
home  element,  a feature  strong  in  his  paintings  even  amid  the 
homeliest  surroundings.  The  full  light  is  centered  upon  the 
figures  of  the  father  and  mother  and  the  bowl  of  steaming 
broth,  touches  of  it  lighting  up  various  objects  on  the  mantle, 
the  cradle,  and  the  heads  of  the  children  at  the  left. 

One  admires  the  cleverness  of  the  artist  in  introducing  the 
fowl  ; it  serves  the  double  purpose  of  giving  additional  natural- 
ness to  the  scene  and  preserving  the  balance  of  the  foreground. 

DAGNAN-BOUVERET. 

1852- 

French. 

Dagnan-Bouveret,  one  of  the  clever  painters  of  the  modern 
French  School,  is  a good  draughtsman,  a fine  technician  and  a 
finished  painter,  who  by  his  recent  use  of  high  color  is  some- 
times looked  upon  as  an  impressionist.  A man  of  feeling  and 
imagination  he  does  much  work  of  a religious  character.  He 
also  paints  peasant  scenes  in  a vigorous,  direct  fashion,  with  no 
little  originality  in  treatment. 

145. 

CONSECRATED  BREAD. 

Luxembourg,  Paris. 

In  a dimly  lighted  interior,  a group  of  women  with  varied 
expressions  of  weariness,  stolidness  and  devotion  is  seated,  wait- 


170 


ing  until  a young  acolyte  has  passed  them  the  Consecrated, 
Bread.  This  simple  scene,  in  a damp  village  church,  is  an  inter- 
esting study,  for  each  face  bears  the  record  of  a monotonous 
existence.  The  artist  conveys  a forcible  impression  of  the  dull, 
bare  simplicity  of  these  peasant  lives  and  the  narrowness  of 
their  mental  and  material  horizon.  It  is  painted  with  a homely 
plainness,  a touch  of  compassionate  sentiment  which  is  a pecu- 
liar note  of  Dagnan'Bouveret^s. 


171 


American  Painting. 


Painting  in  the  United  States  became  an  art  worthy  of 
very  serious  consideration  only  after  the  Centennial  Exposition 
in  1876.  The  first  centuries  of  American  life  were  devoted  to 
iecuring  necessities ; the  energies  of  the  time  were  of  such  prac- 
tical nature  as  precluded  artistic  development,  thus  except  in 
individual  cases,  America’s  standing  in  the  art  world  was  not 
of  sufficient  importance  to  attract  any  special  attention. 

Stimulated  by  the  display  of  art  both  foreign  and  domestic 
in  1876,  societies  and  painters  began  to  spring  up  all  over  the 
country ; as  a result,  there  is  in  the  United  States  today,  a body 
of  artists  as  progressive  in  spirit,  and  technically  as  well  trained 
as  can  be  found  in  almost  any  country  of  Europe.  In  land- 
scape especially,  America  is  distinctly  national;  along  other 
lines,  too,  her  artists  are  working  in  the  modern  spirit  showing 
great  individuality  in  technique,  subject,  and  conception. 

The  American  artist  has  now  become  a universal  artist, 
representing  in  his  art  universal  truths  that  appeal  to  all  man- 
kind. His  name  appears  among  painters  whose  countries  have 
had  hundreds  of  years  of  art  history — proof  that  America  is 
also  the  heir  of  the  ages ; that  American  art  is  now  one  of  the 
controlling  powers  of  the  twentieth  century  Renaissance. 

WHISTLER. 

1834-1903. 

American. 

No  greater  genius  has  arisen  in  the  art  world  since  Rem- 
brandt’s time  than  James  McNeil  Whistler.  A man  of  remark- 
able and  peculiar  personality,  his  conception  of  art  and  nature 
was  equally,  remarkable.  Ever  shunning  the  obvious  he  reached 
toward  the  abstract,  like  Leonardo,  trying  to  attain  his  end  by 
drawing  attention  as  far  as  possible  from  the  means  employed ; 
at  one  time  he  almost  discarded  form  in  his  preference  for  sug- 
gestion rather  than  fact. 

His  art, — the  perfection  of  delicacy  both  in  color  and  line, 


172 


— has  in  a marked  degree  the  pictorial  charm  of  suggestiveness. 
He  delighted,  above  all,  in  the  representation  of  subtle  harmo- 
nies— harmonies  of  similarity  rather  than  contrast,  in  fact  he 
was  one  of  the  first  of  moderns  to  produce  these  delicate,  ex- 
quisitely refined  effects  in  color  tones.  An  American  born,  his 
country  lays  first  claim  to  him  in  spite  of  the  fact  that  he 
shared  his  life  almost  equally  between  America,  France  and 
England.  His  work,  however,  is  entirely  cosmopolitan,  show- 
ing a bias  from  neither  country. 

146. 

WHISTLER’S  MOTHER. 

Luxembourg,  Paris. 

This  example  of  Whistler’s  while  one  of  the  most  popular, 
is  unlike  a large  proportion  of  bis  work  and  does  not  so  strongly 
reveal  some  of  the  most  peculiar  qualities  of  his  genius.  How- 
ever, had  he  painted  but  this  one  picture,  his  name  would  have 
gone  down  to  posterity  as  surely  as  did  the  author  of  the 
"Elegy.”^ 

Whistler,  always  interested  less  in  what  could  be  seen  than 
in  what  could  be  suggested,  has  revealed  here  so  much  of  his 
own  attitude  toward  his  mother,  so  much  of  his  feeling  of  ten- 
derness and  reverence  for  her,  that  the  picture  will  always  re- 
main an  ideal  representation  of  motherhood.  Garbed  in  black, 
she  sits  in  profile  with  her  feet  upon  a foot  stool,  her  delicate 
hands  folded  quietly  over  a lace  handkerchief.  Her  expression 
is  retrospective — through  a vista  of  memories  she  is  perhaps 
traveling  backward  over  the  path  of  her  long  life,  so  full  of 
many  and  varied  experiences.  The  quiet  color  scheme  of  black 
and  gray,  the  absence  of  unnecessary  accessories,  lend  greater 
attraction  and  impressiveness  to  the  figure.  The  peculiar  sug- 
gestiveness, the  exquisite  composure,  the  feeling  of  a certain  re- 
served dignity,  can  be  felt  in  full  measure  only  when  one  stands 
before  the  original  painting.  There  is  said  to  be  but  one  other 
mother  in  art,  whose  presence  is  like  a benediction ; that  other 
is  Rembrandt’s  mother  whose  gentle,  serene  countenance  carries 
its  own  message.  These  two  faces  speak  to  each  with  a different 
appeal,  but  speak  in  a universal  language. 


173 


INDEX 


Page. 

Alma-Tadema,  Laurenz  (al-ma  ta-da'-ma  or  ta'-da-ma)  166 

142.  The  Coliseum  . 166 

Angelico,  Fra  Giovanni  (fl’a  an-ja'-le-ko)  23 

7.  The  Last  Judgment  24 

8.  The  Crucifixion  24 

Bavoccio,  Pederigo  (ha  rot'-cho)  . 92 

76.  Our  Lady  of  the  Cat - « 93 

Bartolommeo,  Fra  (Baccio  del-la  Porta)  (ba-to  lomma'-o)  . . 55 

39.  Madonna,  Child,  Elizabeth  and  St.  John , 56 

40.  Deposition  . 56 

Bellini,  Giovanni  (bel-le'-ne)  39 

22.  Doge  Loredano  • • . 40 

23.  Madonna  Enthroned  - 40 

Bdcklin,  Arnold  (bok-len')  167 

143.  The  Island  of  Death  . 168 

Bonheur,  Rosa  (b5-nur')  156 

134,  Ploughing  in  Nivernais  . 156 

Botticelli,  Sandro  (bot-ti-chel'-le)  * , 42 

>25.  Madonna  and  Child  *■  . 43 

26.  Madonna,  Child  and  St.  John  43 

27.  Coronation  of  the  Virgin , , 44 

28.  The  Nativity  , 45 

29.  Spring  46 

Bouguereau,  William  Adolphe  (boo-ger-oO  158 

136.  Virgin  of  Consolation  ■ . 159 

Breton,  Jules  Adolphe  (breh-tonO  155 

133.  The  Song  of  the  Lark . 155 

Burne-Jones,  Sir  Edward  . 162 

138.  King  Cophetua  and  the  Beggar  Maid  162 

Carpaccio,  Vittore  (kar-pat'-cho)  41 

24.  Presentation  in  the  Temple  41 

Chardin,  Jean  Baptiste  Simeon  (shar-dan')  131 

112.  The  Housekeeper  131 

113.  The  Blessing  132 

Cimabue,  Giovanni  (chee-ma-boo'-a)  13 

2.  Madonna  Enthroned  14 

Cbnstable,  John  144 

125.  The  Cornfield  • 144 

/7<k- 


CHRONOLOGICAL  TABLE  OF  ART  HISTORY 


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INDEX 


Page. 

Alma-Tadema,  Laurenz  (al-ma  ta-da'-ma  or  ta'-da-ma)  166 

142.  The  Coliseum  . 166 

Angelico,  Fra  Giovanni  (fl’a  an-ja'-le-ko)  23 

7.  The  Last  Judgment  24 

8.  The  Crucifixion  . 24 

Bav occio,  Pederigo  (ha  rot'-cho)  . 92 

76.  Our  Lady  of  the  Cat 93 

Bartolommeo,  Fra  (Baccio  del-la  Porta)  (ba-to  lomma'-o)  < . 55 

39.  Madonna,  Child,  Elizabeth  and  St.  John , 56 

40.  Deposition  . 56 

Bellini,  Giovanni  (bel-le'-ne)  39 

22.  Doge  Loredano  . 40 

23.  Madonna  Enthroned  40 

Bdcklin,  Arnold  (bok-len')  ..  167 

143.  The  Island  of  Death  . 168 

Bonheur,  Rosa  (bo-nur')  156 

134.  Ploughing  in  Nivernais  156 

Botticelli,  Sandro  (bot-ti-chel'-le)  • . 42 

25.  Madonna  and  Child  . 43 

26.  Madonna,  Child  and  St.  John  43 

27.  Coronation  of  the  Virgin , , 44 

28.  The  Nativity  45 

29.  Spring  46 

Bouguereau,  William  Adolphe  (boo-ger-oO  158 

136.  Virgin  of  Consolation  . 159 

Breton,  Jules  Adolphe  (breh-ton')  * . 155 

133.  The  Song  of  the  Lark . 155 

Burne-Jones,  Sir  Edward  . 162 

138.  King  Cophetua  and  the  Beggar  Maid  162 

Carpaccio,  Vittore  (kar-pat'-cho)  41 

24.  Presentation  in  the  Temple  41 

Chardin,  Jean  Baptiste  Simeon  (shar-dan')  131 

112.  The  Housekeeper  131 

113.  The  Blessing  132 

Cimabue,  Giovanni  (chee-ma-boo'-a)  13 

2.  Madonna  Enthroned  14 

Gbnstable,  John  144 

125.  The  Cornfield  • 144 

/7<>- 


Page. 

Corot,  Jean  Baptiste  Camille  (ko'-ro)  151 

130.  Landscape  162 

Correggio,  Antonio  Allegri  II  (ko-red'-jo)  75 

60.  The  Marriage  of  (St.  Catherine 76 

61.  Holy  Night  77 

Dagnan-Bouveret,  Pascal  A.  J.  (dan  yan  hoo-ve-ra)  170 

145.  Consecrated  Bread  170 

Daubigny,  Charles  Francois  (do-been'-ye')  153 

131.  On  the  River  Oise,  Evening 153 

David,  Jacques  Louis  (da-veed')  133 

115.  Coronation  of  Napoleon  and  Josephine  131 

Delacroix,  Ferdinand  Victor  Eugene  (deh-la-krwa')  149 

129.  Dante  and  Virgil  ^ 150 

Dou,  Oerard  (daoo)  or  (dow)  115 

100.  The  Dropsical  Woman  115 

Diirer,  Albrecht  (dii'rer)  . . . . 60 

43.  Madonna  of  the  Finch  60 

44.  Portrait  of  the  Artist  61 

Elyck,  Hubert  van  (vanIk')  19 

Eyck,  Jan  van  •• 19 

5.  The  Adoration  of  the  Lamb  20 

Forli,  Melozzo  da  (for'-le)  47 

30.  Angel  with  Viol  47 

Francia,  Francesco  Raibolini  (fran'-cha)  50 

33.  Pieta  50 

Gainsborough,  Thomas  141 

121.  Portrait  of  Mrs.  Siddons  141 

122.  The  Blue  Boy  i.  142 

Ghirlandaio,  Domenico  (ger-lan-da'-yo)  33 

17.  Old  Man  and  His  Grandson  34 

18.  Madonna  Enthroned  35 

19.  Nativity  of  the  Virgin 35 

Giorgione,  Giorgio  Barbarelli  (jor-jo'-na)  ' 78 

62.  The  Concert  - 78 

Giotto  di  Bondone  (jot'-to)  16 

3.  The  Plight  Into  Egypt  15 

Gozzoli,  Benozzo  (got'-so-le)  29 

12.  'The  Drunkenness  of  Noah  30 

13.  The  Vintage  ’ 31 

14.  Procession  of  the  Three  Kings 31 

15.  Adoration  of  the  Magi  32 

Greuze,  Jean  Baptiste  (grurz)  132 

114.  The  Broken  Pitchea*  133 

Hals,  Franz  (The  Younger)  (hals)  109 


92.  Bohemian  Girl  

93.  Banquet  of  the  Officers  of  St.  Hadrian’s  Guild 

94.  Portrait  of  an  Admiral  

95.  The  Jolly  Toper  

Hobbema,  Meindert  (hob'-ba-ma)  

109.  The  Avenue,  Middelharnis,  Holland  

Hogarth,  William  • • 

117.  The  Marriage  Contract  

Holbein,  Hans  (The  Younger)  (hol'-bm)  

45.  George  Gysze  

46.  Madonna  of  the  Burgomaster  Meyer  

Hooch,  Pieter  de  ... 

104.  Court  Yard  of  a Dutch  House  

Hunt,  Holman  

139.  The  Light  of  the  World  

Israels,  Josef  (iz'-rii-els)  . 

144.  The  Frugal  Meal  

Le  Brun,  Madame  Vigee  (bru)  

116.  Portrait  of  the  Artist  

Lippi,  Fra  Filippo  (Up'-pe)  - 

10.  The  Annunciation  

11.  Coronation  of  the  Virgin  % 

Lorrain,  Claude  (Gellee)  

110.  The  Mill  

L6tto,  Lorenzo  

64.  Madonna  and  Child  with  Saints  

Luini,  Bernardino  (loo-o'-ne)  

41.  Madonna  of  the  Rose  Hedge  • 

Mantegna,  Andrea  (man-tan'-yay)  i. 

20.  Madonna,  St.  John  and  Mary  Magdalene  ......  .. 

21.  Parnassus  

Margaritone  (mar-gar-e-to'na)  i... 

1.  Madonna  and  Child  v. .. 

Masaccio,  Tommaso  (ma-sat'-cho)  

9.  The  Tribute  Money  

Meer,  Jan  van  der  (of  Delft)  (mar)  

105.  Woman  with  a Pearl  Necklace 

Meissonier,  Jean  Louis  Ernest  (ma'-so-nea')  .. 

135.  La  Rixe  

Memling,  Hans  

6.  Adoration  of  the  Magi  

Metsu,  Gabriel  (met'-sii)  

102.  Violoncello  Player  

Michael-Angelo,  (Buonarroti)  (me-kel-an'-ja-lo) 

177 


Page. 

109 

. 110 

110 
. Ill 
. 126 
. 127 

137 
137 
62 
62 
. 63 

. 120 
. 121 
102 
. 163 

109 
. 170 

. 134 

. 135 

27 

28 
28 

. 129 

, 129 

. 80 
. 81 
57 
57 
37 
37 

. 38 

. 11 
. 11 

25 

26 

. 121 
. 122 
157 
. 158 

21 
22 

. 118 
. 119 

64 


Page. 

47.  Creation  of  Adam  65 

48.  IIo!y  Family  66 

49.  The  Last  Judgment  66 

50.  The  Cmnean  Sibr.l  67 

Millais,  Sir  John  Everett  (mil-la)  164 

140.  The  Knight  Errant  164 

Millet,  Jean  Francois  (me-ya)  by  popular  usage  (mee-lay') 154 

132.  The  Gleaners  164 

Moroni,  Gievann-  Eattista  (mo-rc'ne)  81 

C5.  Portrait  of  a Tai’or  SI 

Murillo,  Bartolome'  Esteban  (mocrel'yo)  104 

89.  The  Children  cf  the  Shell  105 

£0.  Immaculate  Conception  •. ItS 

91.  St.  Anthony  of  Padua  106 

Orcagna,  Andrea  di  Clone  (orkiin'-ya)  17 

4.  The  Triumph  of  Death  17 

Palma,  il  Vecchio  Jacopo  (piil-ma  el  vek'-ke-o)  . , . • • 79 

63.  Adoration  of  the  Shepherds  79 

Perugino,  Pietro  Vanucci  (pa-roo-je'-no)  48 

31.  Virgin  Adoring  the  Infant  Christ  48 

32.  Virgin  and  Child  48 

Pintoricchio,  Bernardino  (pen-too-rek'-keo)  54 

37.  Portrait  of  a Boy 54 

38.  St.  Catherine  of  Alexandria  Before  Her  Judges  64 

Potter,  Paul  116 

101.  The  Young  Bhll  116 

Raeburn,  Sir  Henry  (ra-burn)  143 

124.  Mrs.  Scott  Moncrleff  143 

Raphael  Sanzio  (raf'-a-el)  68 

51.  Madonna  of  the  Grand  Duke  69 

52.  La  Belle  Jardiniere  70 

53.  Parnassus  70 

54.  Christ’s  Charge  to  Peter  71 

55.  Sistine  Madonna  72 

Rembrandt  van  Ryn  (rem'brandt  van  rin)  Ill 

96.  Portrait  of  the  Artist  112 

97..  Portrait  of  the  Artist’s  Mother  113 

98.  The  Shipbuilder  and  His  Wife  113 

99.  The  Night  Watch  114 

Eeni,  Guido  (gwe'-do  ra'-ne)  94 

77.  The  Aurora  94 

Reynolds,  Sir  Joshua  • . 138 

118.  The  Age  of  Innocence  138 

119.  The  Duchess  of  Devonshire  and  Her  Daughter 139 

178 


Page. 

120.  Dr.  Samuel  Johnson  140 

ftomney,  George  14^ 

123  Mrs.  Mark  Currie  143 

Rossetti,  Gabriel  Charles  Dante  (ros-set'-tee)  ICO 

137.  The  Blessed  Damozel  161 

Rubens,  Peter  Paul  • 95 

78.  Chapeau  de  Paille  9.5 

79.  Children  with  Garlands  of  Fruit  96 

80.  Jesus  and  Simeon  96 

81.  Descent  from  the  Cross  97 

Ruisdael,  Jaccb  van  (rois'-dal)  125 

108.  The  Mill  125 

Sarto,  Andrea  del  (ahn-dray'  ah  dail  sar'-to)  73 

56.  Portrait  of  Himself  74 

57.  The  Pi  eta  74 

58.  St.  John  the  Baptist 74 

59.  Madonna  of  the  Harpies  75 

Sodoma,  G’ovanni  Antonio  Bazzi  II  (el  so-do'-ma)  57 

42.  St.  Sabastian  58 

Steen,  Jan  (stfin)  119 

103.  Festival  of  St.  Nicholas  120 

Teniers,  David  (The  Younger)  (ten'yers)  124 

107.  Village  Dance  in  a Flemish  Inn  124 

Terburg,  Gerard  122 

106.  O dicer  Writing  a Letter  123 

Tintoretto,  Jaccpo  Robusti  (tinto-ret'-to)  87 

72.  Bacchus  and  Ariadne  88 

73.  Miracle  of  St.  Mark  88 

Titian,  (Tiziano  Vecelli)  (tish'-yan)  82 

66.  The  Tribute  Money  88 

67.  The  Man  with  the  Glove 83 

68.  The  Entombment  84 

69.  Holy  Family  85 

70.  Sacred  and  Profane  Love  ••  85 

71.  Assumption  of  the  Virgin  86 

Turner,  Joseph  Mallord  William  145 

126.  Ulysses  Deriding  Polyphemus  146 

127.  The  Fighting  Temeraire 146 

Van  Dyck,  Sir  Anthony  98 

82.  Children  of  Charles  I 98 

83.  Marie  Louise  of  Tassis  99 

84.  Portrait  of  Charles  I 100 

85.  William  II  of  Nassau  ■ ■ 100 

Velasquez,  Diego  Roderiguez  de  Silvay  (va-las'-keth)  101 

179 


Pag:e 

86.  Maids  of  Honor  io2 

87.  The  Topers  103 

88.  Surrender  of  Breda  104 

Veronese,  Paolo  Caliari  (va-ro-na'-za)  89 

74.  Family  of  Darius  Before  Alexander  90 

75.  St.  Helena’s  Vision  90 

Verrocchio,  Andrea  del  (ver-r5k'-keo)  32 

16.  The  Baptism  33 

Vinci,  Leonardo  da  (da-ven-che)  50 

34.  Virgin  of  the  Rocks  51 

35.  Mona  Lisa  52 

36.  The  Last  Supper  53 

Watteau,  Antoine  (wat-to')  130 

111.  Fete  Champetre  130 

Watts,  George  Frederic  164 

141.  Love  and  Death  165 

^Whistler,  James  Abbott  McNeil  172 

146.  Whistler’s  Mother  I73 

Wilkie,  Sir  David  I47 

128.  Blind  Man’s  Buff  148 


DEC  1 2 

awVEBsnv  of  lamois 


180 


